|
|
|
|
|
21s
|
[Elvis Mitchell] For me, the most exciting period in the history of film
|
Para mí, el período más emocionante
de la historia del cine
|
|
25s
|
is when movies with the word "black" in the title went from this…
|
fue cuando la palabra "negro" del título
pasó de esto…
|
|
30s
|
to this.
|
EL GRAN SANSÓN
|
|
43s
|
My excitement was not just because there was finally truth in advertising
|
Mi emoción no era solo porque
al fin la publicidad reflejaba la verdad…
|
|
48s
|
but because I got to see a first in the movies,
|
…sino porque, por primera vez,
vi en las películas
|
|
51s
|
a procession of assured Black talent.
|
una procesión de talento negro afianzado.
|
|
55s
|
Pam Grier aglow in Friday Foster,
|
Pam Grier radiante en Rastro Peligroso,
|
|
57s
|
an early comics adaptation.
|
una adaptación del cómic.
|
|
1:00
|
Max Julien's contemporary take on film noir in The Mack.
|
La versión contemporánea de Max Julien
del film noir en Goldy el chulo.
|
|
1:04
|
Charlie Russell's 1969 play Five on the Black Hand Side
|
La obra de 1969 de Charlie Russell,
Five on the Black Hand Side,
|
|
1:08
|
would hit the big screen four years later.
|
llegó a la pantalla grande
cuatro años después.
|
|
1:11
|
I ain't givin' up nothin' but bubble gum and hard times!
|
¡No renunciaré a nada,
salvo al chicle y las vicisitudes!
|
|
1:16
|
And I'm fresh outta bubble gum.
|
Y me quedé sin chicle.
|
|
1:21
|
[Mitchell] And I wasn't alone in responding this way.
|
Y no fui el único que reaccionó así.
|
|
1:26
|
-[announcer] Hell Up in Harlem. -[announcer 2] The Black Godfather.
|
Infierno en Harlem. El Padrino Negro.
|
|
1:30
|
[Mitchell] So, if this burst of freedom and fulfillment was so well-received
|
Si este estallido de libertad
y satisfacción fue tan bien recibido
|
|
1:35
|
and the thirst never really went away,
|
y el deseo nunca desapareció,
|
|
1:38
|
why did these Black films stop getting made?
|
¿por qué dejaron de hacerse
estas películas negras?
|
|
1:55
|
[Mitchell] My grandmother told me that movies changed the way she dreamed.
|
Mi abuela me contó que las películas
cambiaron su forma de soñar.
|
|
2:00
|
She hailed from Mississippi.
|
Ella era de Mississippi.
|
|
2:02
|
She said that movies turned her dreams into something resembling stories…
|
Decía que las películas hacían
que sus sueños parecieran historias,
|
|
2:07
|
…and that first film she saw that embedded in her subconscious
|
y que la primera película que vio
y le quedó grabada en el subconsciente
|
|
2:11
|
was Dracula.
|
fue Drácula.
|
|
2:13
|
And its gothic chills and mezzo-operatic tone
|
El terror gótico
y el tono medio operístico
|
|
2:16
|
made her afraid to sleep for a week.
|
la dejaron una semana sin dormir
por el miedo.
|
|
2:19
|
I am Dracula.
|
Soy Drácula.
|
|
2:22
|
Evil spirits?! Good gracious me! Well, there is evil spirits around here?
|
¿Espíritus malignos? ¡Dios me libre!
¿Hay espíritus malignos?
|
|
2:25
|
Why sure, the place is crawling with 'em. And that ain't all.
|
Claro, este lugar está lleno.
Y eso no es todo.
|
|
2:29
|
What? There's more?
|
¿Qué? ¿Hay más?
|
|
2:30
|
[Mitchell] But movies that showed African Americans facing fear
|
Pero las películas que mostraban
a los afroamericanos frente al miedo,
|
|
2:33
|
brought that to the screen in a way that was dehumanizing and surreal.
|
los deshumanizaban
y los hacían ver surrealistas.
|
|
2:38
|
Who is they?! Who is they?!
|
¿Quiénes son?
|
|
2:41
|
-Zombies. -[exclaims in fear]
|
Zombis.
|
|
2:44
|
[Mitchell] This also demonstrates that, way more often than should happen,
|
También demuestra que,
más de lo que quisiéramos,
|
|
2:48
|
films regarded as classics had a way of letting Black people down.
|
los filmes considerados clásicos
decepcionaban a los negros.
|
|
2:53
|
At some point,
|
En algún momento,
|
|
2:54
|
you're likely to be assaulted by a cringe-worthy moment
|
te embarga una sensación
de vergüenza ajena
|
|
2:57
|
in something from the canon by one of the masters.
|
en algo de la obra de los maestros.
|
|
3:00
|
Tossed-off stereotypes from the Master of Suspense,
|
Estereotipos improvisados
del maestro del suspenso,
|
|
3:04
|
and one of film's most highly regarded dramatists,
|
uno de los más respetados
dramaturgos del cine,
|
|
3:06
|
and the premier actor-director of musicals
|
y un importante
actor y director de musicales
|
|
3:09
|
continue to leave a mark.
|
siguen dejando su huella.
|
|
3:12
|
Orson Welles and Laurence Olivier, giants in theater and the movies,
|
Orson Welles y Laurence Olivier,
gigantes del teatro y el cine,
|
|
3:16
|
slathered on blackface and benign superiority
|
con el rostro pintado de negro
y una superioridad benigna
|
|
3:20
|
to take on Othello.
|
interpretaron a Otelo.
|
|
3:22
|
A closet lock and key of villainous secrets.
|
Cual cerrojo o sigilosa llave
que encierra secretas villanías
|
|
3:27
|
[Mitchell] I have never been able to see Mickey Mouse in those gloves
|
Nunca pude ver
a Mickey Mouse con esos guantes
|
|
3:30
|
or Bugs Bunny, for that matter, and not think of minstrel shows.
|
o, de hecho, a Bugs Bunny,
sin pensar en el minstrel.
|
|
3:35
|
What else were we to assume? They were dressing for the Harvard Club?
|
¿Íbamos a suponer
que se vestían para el Harvard Club?
|
|
3:38
|
-Did you ever see an elephant fly? -[chuckles] Well, I seen a horsefly.
|
¿Alguna vez viste un elefante volador? Vi a un tábano.
|
|
3:42
|
[exclaims] I seen a dragonfly.
|
A una libélula.
|
|
3:45
|
-I seen a housefly. -[audience laughs]
|
A una mosca.
|
|
3:48
|
[crow] See, I seen all that…
|
Yo vi todo eso.
|
|
3:49
|
[Mitchell] These were probably some of the scenes
|
Estas deben ser algunas de las escenas
|
|
3:51
|
that made their way into my grandmother's subconscious,
|
que llegaron al subconsciente
de mi abuela,
|
|
3:54
|
fragments that she had to fight from overtaking her image of herself,
|
fragmentos que debió combatir
para no olvidar quién era
|
|
3:57
|
along with the way she was treated as a young woman of color in Mississippi.
|
así como el trato que recibía
como joven de color en Mississippi.
|
|
4:01
|
Her awareness of images was such that, when we visited her in Hattiesburg,
|
Su conciencia de las imágenes era tal,
que cuando la visité en Hattiesburg,
|
|
4:05
|
she wouldn't let us watch reruns of The Andy Griffith Show.
|
no nos dejaba ver las repeticiones
de The Andy Griffith Show.
|
|
4:09
|
She would say,
|
Nos decía:
|
|
4:10
|
"There's no Black people in that Southern town."
|
"No hay negros en ese pueblo sureño.
|
|
4:12
|
"What do you think happened to them?"
|
¿Qué creen que les pasó?".
|
|
4:15
|
All this can sure make it hard for me to love the movies.
|
Sin duda, eso me dificulta amar el cine.
|
|
4:19
|
For me, it's been a lifetime of watching, and thinking, and writing about movies.
|
Pasé la vida viendo, pensando
y escribiendo sobre cine.
|
|
4:25
|
I keep coming back,
|
Seguía volviendo,
|
|
4:26
|
despite the waves of disregard they keep hitting me with.
|
a pesar de las constantes
omisiones u ofensas.
|
|
4:30
|
The diminution can feel like a mountain.
|
Era casi imposible superar
esa falta de visibilidad.
|
|
4:34
|
Maybe the simplest way to explain representation is this.
|
Tal vez este sea el modo más simple
de explicar esa representación.
|
|
4:38
|
If you were a white actor,
|
Un actor blanco
|
|
4:40
|
formal wear implied preparing for a night on the town
|
vestido de gala
salía a disfrutar de la ciudad
|
|
4:43
|
and all the pleasures life had to offer.
|
y de todos los placeres
que ofrece la vida.
|
|
4:46
|
If you were a Black actor, a black bow tie wasn't putting on the ritz.
|
Un actor negro con moñito
no era sinónimo de elegancia.
|
|
4:49
|
It meant you were going to work. It was your uniform.
|
Significaba que ibas a trabajar.
Era tu uniforme.
|
|
4:53
|
Now, I like a well-assembled ensemble as much as the next person,
|
Me gusta la buena ropa
tanto como a cualquier persona,
|
|
4:57
|
probably more so,
|
probablemente más,
|
|
4:58
|
but I've never really been a fan of tuxedos.
|
pero nunca fui fan del esmoquin.
|
|
5:02
|
Maybe that's why.
|
Tal vez sea por eso.
|
|
5:06
|
♪ Ol' man river ♪
|
BOHEMIOS - EL TEATRO FLOTANTE (1929)
|
|
5:09
|
♪ That ol' man river ♪ ♪ He must know somethin' ♪
|
MAGNOLIA (1936)
|
|
5:15
|
♪ But don't say nothin'… ♪
|
MAGNOLIA (1951)
|
|
5:19
|
[Mitchell] Rather than seek out and develop new roles for Black actors,
|
En vez de buscar y desarrollar
papeles nuevos para actores negros,
|
|
5:22
|
the tired tropes of Show Boat functioned as a way
|
los tropos desgastados de Magnolia
|
|
5:25
|
to showcase Black talent through recycling.
|
mostraban talentos negros
mediante el reciclaje.
|
|
5:28
|
The on-screen crushing of Black hope was institutional,
|
La industria destruía
la esperanza negra en el cine,
|
|
5:31
|
from saying there were barely any roles for Black men
|
desde decir que casi no había papeles
para hombres negros
|
|
5:34
|
to an unreal standard of beauty
|
hasta los cánones de belleza irreales
|
|
5:37
|
that guaranteed decades of self-hatred for Black women.
|
que les aseguraron a las mujeres negras
décadas de autodenigración.
|
|
5:40
|
Here she comes.
|
Aquí viene.
|
|
5:42
|
This is the part I really like. This is when she does that shit with her hair.
|
Esta es la parte que me gusta,
cuando se hace eso en el cabello.
|
|
5:45
|
[Mitchell] This role wasn't written for a Black actor
|
Este papel no fue escrito
para un actor negro,
|
|
5:48
|
but oddly made an inadvertent comment
|
pero extrañamente hizo
un comentario inadvertido
|
|
5:50
|
about the most desirable kind of hair…
|
pero extrañamente hizo
un comentario inadvertido sobre el tipo de cabello más deseable,
|
|
5:54
|
…a lesson Black women are still dealing with.
|
una lección que las mujeres negras
aún intentan superar.
|
|
5:59
|
[Martin Luther King Jr] Well, in my, uh, days in Atlanta as a child,
|
De niño, en mis días en Atlanta,
|
|
6:02
|
there was a pretty strict system of segregation.
|
había un sistema estricto de segregación.
|
|
6:06
|
I could not attend any of the theaters.
|
No podía ir a los cines.
|
|
6:08
|
Only, uh… There were one or two Negro theaters.
|
Había uno o dos cines para negros.
|
|
6:13
|
Uh, they were very small, but, uh, they did not get the main pictures.
|
Eran muy pequeños,
pero no pasaban los estrenos.
|
|
6:18
|
If they got them, they were two years later, three years late.
|
Los estrenos llegaban
dos o tres años más tarde.
|
|
6:22
|
So that, uh, by and large, there was a very strict system of segregation.
|
En general, regía
un sistema de segregación muy estricto.
|
|
6:31
|
My Saturdays was basically spent in the movies.
|
Todos los sábados iba al cine.
|
|
6:33
|
-[pleasant music playing] -We would watch serialized Westerns,
|
Veíamos westerns en serie,
|
|
6:37
|
like, you know, Lash LaRue, Gene Autry, Roy Rogers,
|
como Lash LaRue, Gene Autry, Roy Rogers,
|
|
6:41
|
stuff like that, or Buck Rogers, you know, some outer space stuff.
|
cosas de ese estilo,
o Buck Rogers, ciencia ficción.
|
|
6:45
|
[Suzanne De Passe] I was very interested in Westerns.
|
Me interesaban mucho los westerns.
|
|
6:49
|
For some reason, I loved Westerns.
|
Por algún motivo, me encantaban.
|
|
6:51
|
Gene Autry and Johnny Mack Brown and Roy Rogers…
|
Gene Autry, Johnny Mack Brown, Roy Rogers,
|
|
6:54
|
[chuckling] …and all these cowboy shows.
|
todos esos programas de vaqueros.
|
|
6:57
|
So I'd go to the Los Angeles Theatre. It was this big palace like the old days,
|
Iba al Los Angeles Theatre.
En esa época, era una palacio enorme
|
|
7:02
|
and it was still kept in great shape.
|
y estaba muy bien conservado.
|
|
7:04
|
And so I'd just kick back, sometimes be the only one there,
|
Me ponía cómodo,
a veces era el único espectador
|
|
7:07
|
and I had this big old theater all to myself.
|
y tenía todo el cine para mí solo.
|
|
7:09
|
All that stuff by John Ford, Monument Valley, all that kind of stuff.
|
Veía películas de John Ford
en Monument Valley, esas cosas.
|
|
7:12
|
I think those things sort of… sort of grew on me.
|
Empezó a gustarme todo eso.
|
|
7:15
|
I'd seen really good… good stories.
|
Vi muy buenas historias.
|
|
7:18
|
I am going to the movies with my father,
|
Iba al cine con mi padre.
|
|
7:22
|
and he is taking me to see the movies that he likes.
|
Me llevaba a ver las películas
que a él le gustaban.
|
|
7:26
|
Movies that have people like John Wayne in them and Steve McQueen.
|
Películas con actores
como John Wayne y Steve McQueen.
|
|
7:33
|
I remember Band of Angels…
|
Recuerdo Mi pecado fue nacer,
|
|
7:35
|
[laughs] …you know, 'cause I remember when Sidney Poitier slapped her.
|
porque recuerdo
cuando Sidney Poitier la abofeteó.
|
|
7:40
|
The film cut out, and you came back. She was standing there holding her face.
|
El filme se cortaba y volvía.
Ella se tocaba la cara.
|
|
7:44
|
We were like, "What just happened?" My mom said, "He slapped her."
|
Preguntamos qué había pasado.
Mi mamá dijo: "La abofeteó".
|
|
7:47
|
"What?! For real?"
|
"¿Qué? ¿En serio?".
|
|
7:49
|
"They can't show that, but he slapped her."
|
"No pueden mostrar eso, pero la abofeteó".
|
|
7:52
|
If you're a movie lover, you go to the movies you're interested in seeing.
|
Si eras cinéfilo, ibas a ver las películas
que te interesaban.
|
|
7:56
|
And it's not until after you get into the middle of the movie do you realize,
|
Y a la mitad de la película,
te dabas cuenta
|
|
8:00
|
"Oh, there's no Black people in this movie." [laughs]
|
de que no había negros en la película.
|
|
8:03
|
You're just munching the popcorn, and it's like,
|
Comías palomitas y pensabas:
|
|
8:06
|
"Did you-- Have-- Is it me, or is there no Black people in this movie?"
|
"¿Soy yo
o no hay negros en esta película?".
|
|
8:10
|
"There's no Black people in the movie." "Oh, okay."
|
"No hay negros en la película". "Bueno".
|
|
8:13
|
[Mitchell] We wanna see ourselves…
|
Queremos vernos
|
|
8:16
|
…some kinda way, you know.
|
representados de algún modo.
|
|
8:18
|
Uh, yeah, 'cause, like I said, when… when I was a "kid" kid,
|
Porque como dije, cuando era niño,
|
|
8:22
|
the Black people in the movies… We had Stepin Fetchit…
|
los negros en las películas…
Teníamos a Stepin Fetchit…
|
|
8:25
|
What are you looking for?
|
¿Qué buscas?
|
|
8:28
|
Where'd you learn to be a barber?
|
¿Dónde aprendiste a ser barbero?
|
|
8:30
|
[Jackson] …Willie Best,
|
…Willie Best,
|
|
8:33
|
Alfalfa, Buckwheat, Stymie…
|
Alfalfa, Buckwheat, Stymie…
|
|
8:39
|
but I still wanted to be them!
|
pero igual quería ser como ellos.
|
|
8:41
|
Hiya, Buckwheat.
|
Hola, Buckwheat.
|
|
8:42
|
[Jackson] I didn't know any Black kid that played with white kids,
|
No conocía a chicos negros
que jugaran con blancos,
|
|
8:45
|
let alone hung out with 'em, you know, and, you know, went to their houses,
|
mucho menos que se juntaran con ellos
y fueran a sus casas,
|
|
8:49
|
or they came to their houses and did stuff, so…
|
o que los blancos fueran a sus casas.
|
|
8:51
|
Our Gang was like… totally like, "Wow! Where the… Where the hell do they live?"
|
Veíamos Our Gang y pensábamos:
"¿Dónde diablos viven?".
|
|
8:56
|
I mean, I grew up in segregation,
|
Crecí en la segregación,
|
|
8:58
|
so from the time I could talk, walk, see, make sense of things,
|
para cuando pude hablar, caminar
y entender determinadas cosas,
|
|
9:04
|
the world was separate.
|
el mundo estaba dividido.
|
|
9:07
|
But when I went to the movies… The movies is the stuff of fantasies. You know?
|
Pero cuando iba al cine…
Las películas eran fantasías.
|
|
9:11
|
When I went to the movies, I came home, and I wanted to be that pirate that I saw.
|
Cuando iba al cine y volvía a casa,
quería ser el pirata que había visto.
|
|
9:17
|
But…
|
Pero…
|
|
9:19
|
I needed a Black cowboy.
|
necesitaba un vaquero negro.
|
|
9:23
|
[Zendaya] We have so many stories to tell.
|
Tenemos muchas historias que contar.
|
|
9:25
|
We just wanna see more of us existing in all different forms,
|
Queríamos ver más de nosotros
en distintas formas,
|
|
9:29
|
and I think that is a common frustration, I think, amongst my peers.
|
y creo que esa es
una frustración común entre mis pares.
|
|
9:33
|
We just wanna see us just being kids or, like, in sci-fi, whatever.
|
Queremos vernos niños,
o en películas de ciencia ficción.
|
|
9:38
|
[Fishburne] I think, like most people,
|
Creo que, como la mayoría,
|
|
9:39
|
I engage with the movies in the way that you engage with your dreams.
|
me entrego a las películas
como a los sueños.
|
|
9:42
|
While enjoying those pictures that I was seeing,
|
Cuando disfrutaba las películas que veía,
|
|
9:45
|
I was also projecting
|
también proyectaba
|
|
9:48
|
and trying to visualize myself on the screen, maybe.
|
y trataba de visualizarme en la pantalla.
|
|
9:53
|
[Margaret Avery] As a little girl, all I saw in the movies were people that didn't look like me.
|
De niña, veía en las películas
gente que no se veía como yo.
|
|
9:59
|
So I didn't really believe that I could ever become an actress.
|
No creía que pudiera ser actriz.
|
|
10:03
|
Until I saw Harry Belafonte and Dorothy Dandridge in Carmen Jones.
|
Hasta que vi a Harry Belafonte
y Dorothy Dandridge en Carmen de fuego.
|
|
10:09
|
And when I saw them, I said, "Oh wow!"
|
Cuando los vi, dije: "Vaya.
|
|
10:14
|
"Maybe I could become an actress."
|
Tal vez podría ser actriz".
|
|
10:18
|
[Mitchell] Dorothy Dandridge was paired three times
|
Dorothy Dandridge hizo dupla tres veces
|
|
10:20
|
with a figure who became a star in every arena
|
con una figura
que fue estrella en cada escenario
|
|
10:23
|
except for the one that he was most qualified,
|
salvo en aquel
para el que estaba más preparado,
|
|
10:26
|
movies.
|
el cine.
|
|
10:26
|
That was Harry Belafonte.
|
Era Harry Belafonte.
|
|
10:29
|
Dandridge matched Belafonte in talent and temperament.
|
Dandridge igualaba a Belafonte
en talento y carácter.
|
|
10:32
|
Only the towering presence of racism could blind anyone
|
Solo un marcado racismo
cegaría a cualquiera
|
|
10:36
|
to their adaptable charisma.
|
a su adaptable carisma.
|
|
10:38
|
That kept them from more on-screen pairings.
|
Eso evitó
que los juntaran más en pantalla.
|
|
10:47
|
[Mitchell] Belafonte's success as a singer sprang from his training as an actor.
|
El éxito de Belafonte como cantante
venía de su formación actoral.
|
|
10:52
|
He brought the deportment of a storyteller to music.
|
Llevó el porte de narrador a la música.
|
|
10:55
|
His extraordinary presence, he had the physical arrogance of an athlete,
|
Su presencia era extraordinaria.
Tenía la arrogancia física de un atleta
|
|
10:59
|
and an emotional immersion in character,
|
y se metía en la emoción del personaje,
|
|
11:02
|
signaled his on-screen gifts immediately.
|
lo que enseguida indicó
sus dotes actorales.
|
|
11:05
|
But he bristled against a system that not only had no idea how to use him
|
Pero él desafiaba un sistema
que no tenía idea cómo aprovecharlo
|
|
11:10
|
but was so afraid of him
|
y le tenía tanto miedo
|
|
11:11
|
that his singing voice wasn't used in Carmen Jones.
|
que no usaron su voz
en las canciones de Carmen de fuego.
|
|
11:16
|
♪ I saw it fade and lose its bloom ♪
|
CARMEN DE FUEGO (1954)
|
|
11:21
|
[Mitchell] So in 1959,
|
Entonces, en 1959,
|
|
11:23
|
he responded by producing a project that brought in director Robert Wise,
|
respondió produciendo un proyecto
que incorporó al director Robert Wise,
|
|
11:27
|
actor Ed Begley, who both won Oscars a few years later,
|
al actor Ed Begley,
quienes años más tarde ganaron óscares,
|
|
11:31
|
blacklisted screenwriter Abe Polonsky,
|
al guionista prohibido Abe Polonsky,
|
|
11:33
|
and the Modern Jazz Quartet.
|
y al Modern Jazz Quartet.
|
|
11:38
|
Odds Against Tomorrow was just a remarkable thing for its day,
|
Reto al destino fue notable para la época,
|
|
11:44
|
and, uh, the fact that I was given the opportunity
|
y que me dieran la oportunidad
|
|
11:47
|
to make that kind of film
|
de hacer una película así
|
|
11:50
|
really meant a lot to me.
|
significó mucho para mí.
|
|
11:51
|
♪ What's the matter, pretty baby? ♪ ♪ Tell me, what's your daddy done? ♪
|
RETO AL DESTINO (1959)
|
|
12:12
|
Hi, baby. What's shaking?
|
Hola, nene. ¿Cómo estás?
|
|
12:15
|
Bacco wants to buy you a drink.
|
Bacco quiere invitarte un trago.
|
|
12:18
|
And I wanna buy you a shiny new car.
|
Y yo quiero comprarte un auto nuevo.
|
|
12:20
|
[Mitchell] Odds Against Tomorrow was an unforgettable film.
|
Reto al destino fue un filme inolvidable.
|
|
12:23
|
The last film noir of its era
|
El último film noir de su época,
|
|
12:25
|
that was also ahead of its time with an honest look at race,
|
adelantado a su tiempo,
con una mirada sincera del racismo,
|
|
12:29
|
which means, of course, it was ignored.
|
que, por supuesto, fue ignorado.
|
|
12:31
|
Opportunities came Belafonte's way,
|
A Belafonte le llovían oportunidades,
|
|
12:34
|
but the projects he was offered didn't remotely interest him.
|
pero los proyectos que le ofrecían
no le interesaban.
|
|
12:37
|
[Belafonte] Sidney Poitier, up until then,
|
Hasta entonces, Sidney Poitier
|
|
12:40
|
had been the most popular Black figure in the universe,
|
era la figura negra
más popular del universo,
|
|
12:44
|
but he was Sidney Poitier.
|
pero era Sidney Poitier.
|
|
12:47
|
He was not Sidney Poitier in a Black environment,
|
No era Sidney Poitier en un entorno negro,
|
|
12:50
|
in a Black circumstance.
|
en circunstancias propias.
|
|
12:52
|
He was Sidney Poitier playing a Black person in an all-white movie.
|
Era Sidney Poitier haciendo de negro
en una película de blancos.
|
|
12:58
|
First thing I ask myself is, "What is a Black man,
|
Lo primero que me pregunto es:
"¿Qué hace un negro
|
|
13:02
|
came from nothing, going nowhere,
|
que sale de la nada y va a ninguna parte
|
|
13:04
|
all of a sudden in the middle of seven Nazi nuns?"
|
en medio de siete monjas nazis?
|
|
13:09
|
I… I turned it down.
|
Rechacé el papel.
|
|
13:12
|
And they offered it to Sidney, and Sidney took it.
|
Se lo ofrecieron a Sidney, y él aceptó.
|
|
13:16
|
-The winner is Sidney Poitier… -[applause]
|
El ganador es Sidney Poitier.
|
|
13:23
|
[Mitchell] Rather than submit himself to material
|
En vez de aceptar papeles
|
|
13:25
|
that didn't depict the Black community in a meaningful way,
|
que no mostraban a la comunidad negra
de manera auténtica
|
|
13:28
|
or at all, for that matter,
|
o no la mostraban en lo absoluto,
|
|
13:30
|
Harry Belafonte chose not to appear in movies from 1959 until 1970.
|
Harry Belafonte eligió no actuar en cine
desde 1959 hasta 1970.
|
|
13:35
|
To my mind, that made him the Muhammad Ali of the film world,
|
Para mí era el Muhammad Ali
del mundo del cine,
|
|
13:39
|
forced in his prime away from the arena in which he belonged.
|
lo obligaron a alejarse
en su mejor momento.
|
|
13:43
|
[Belafonte] Not one picture I turned down did I regret not doing.
|
No me arrepiento
de las películas que rechacé.
|
|
13:47
|
Mm-mm. Wasn't in my… wasn't in my turf.
|
No eran para mí.
|
|
13:50
|
I didn't resent any of them.
|
No les guardo rencor.
|
|
13:52
|
I'm glad others got an opportunity and went off and did it, but my initial…
|
Me alegra que otros aprovecharan
la oportunidad, pero para mí…
|
|
13:57
|
First and foremost, I'm an artist.
|
Más que nada, soy artista.
|
|
14:00
|
I'm an actor.
|
Soy actor.
|
|
14:01
|
And I came out of a school with Marlon Brando, Walter Matthau,
|
Vengo de la misma escuela
de Marlon Brando, Walter Matthau,
|
|
14:05
|
Rod Steiger, Tony Curtis,
|
Rod Steiger, Tony Curtis,
|
|
14:08
|
with a director that gave us no quarter.
|
con un director que no nos daba tregua.
|
|
14:12
|
I'm not gonna do anything other than what I think is worthy of being done.
|
No haré nada
que no considere que valga la pena.
|
|
14:17
|
And fortunately for me, I was a runaway success
|
Por suerte, tuve muchísimo éxito
|
|
14:21
|
in the world at large
|
en todo el mundo,
|
|
14:22
|
because I had a globe so passionately approving
|
porque todo el planeta
valoraba apasionadamente
|
|
14:27
|
of my presence in their midst
|
mi presencia entre ellos,
|
|
14:29
|
that nobody could dismiss the fact
|
y nadie podía ignorar
|
|
14:31
|
that that thing on the horizon called Belafonte
|
que esa cosa en el horizonte
llamada Belafonte
|
|
14:34
|
could really not be fucked with.
|
no daría el brazo a torcer.
|
|
14:37
|
Because anytime anybody came up and gave me an ultimatum,
|
Cada vez que venían a darme un ultimátum,
|
|
14:40
|
I said, "Fuck you. I'm going to Paris."
|
les decía: "Jódanse. Me voy a París.
|
|
14:42
|
"I'll probably live there if I like, but I… I have a destination
|
"Si me gusta, me quedaré a vivir ahí,
pero tengo un destino
|
|
14:46
|
that answers your… your denial of what I could be."
|
que responde a su negativa
de lo que yo podría ser".
|
|
14:51
|
Just me.
|
Solo yo.
|
|
14:55
|
I'm here.
|
MUNDO, CARNE Y DESEO (1959) Estoy aquí.
|
|
14:56
|
[Mitchell] Belafonte's resolve literally took him out of the picture.
|
La determinación de Belafonte
lo quitó de la pantalla.
|
|
15:00
|
But as frustration mounted
|
A medida que crecía la frustración
|
|
15:01
|
for people of color demanding redress and civil rights,
|
de la gente de color que exigía
reparación y derechos civiles,
|
|
15:05
|
movies lagged behind.
|
el cine se quedó atrás.
|
|
15:07
|
To use a Langston Hughes quote that inspired a play and a movie,
|
Citando a Langston Hughes,
que inspiró una obra y una película:
|
|
15:11
|
"What happens to a dream deferred?"
|
"¿Qué pasa con un sueño postergado?
|
|
15:13
|
"Does it dry up… [chuckles] …like a raisin in the sun?"
|
¿Se seca como una pasa al sol?
|
|
15:16
|
"Maybe it just sags like a heavy load."
|
Tal vez solo cuelga como una carga pesada.
|
|
15:20
|
"Or does it explode?"
|
¿O explota?".
|
|
15:27
|
[man] We've been beaten and getting beat and getting beat,
|
Nos golpean una y otra vez,
|
|
15:30
|
and we've just decided to do something about it now!
|
y decidimos hacer algo de inmediato.
|
|
15:34
|
[Mitchell] Decades of punishing mistreatment of people of color
|
Décadas de maltrato a la gente de color
|
|
15:37
|
made the 20th century an epoch of revolt.
|
hicieron del siglo XX
una época de disturbios.
|
|
15:40
|
The 1960s body politic suffered through civil eruptions almost every year.
|
Los gobiernos de los años 60 sufrieron
revueltas civiles casi cada año.
|
|
15:46
|
1965 saw one sweep through Los Angeles.
|
En 1965 se vio el azote en Los Ángeles.
|
|
15:50
|
[Burnett] The thing about the Watts Riot is that you could have anticipated it.
|
Los disturbios de Watts pudieron preverse.
|
|
15:53
|
It was clear that was gonna happen. There was gonna be an explosion.
|
Era evidente que iba a pasar,
que habría una explosión.
|
|
15:57
|
Police were killing people.
|
La policía mataba gente.
|
|
15:58
|
They've always been killing people, been terrorizing the community.
|
Siempre mataban gente
y aterrorizaban a la comunidad.
|
|
16:03
|
If I went to a show at night,
|
Si iba a un show de noche,
|
|
16:04
|
I knew I was gonna get stopped at one point by the police.
|
sabía que la policía me detendría.
|
|
16:08
|
It's just a thing where our lives
|
Parecía que nuestras vidas
|
|
16:12
|
didn't matter, it seemed, you know.
|
no valían nada.
|
|
16:15
|
[Mitchell] By 1968, America was in free fall.
|
Para 1968,
Estados Unidos estaba en caída libre.
|
|
16:19
|
There had been over 20 riots, with over half happening in 1967,
|
Había habido más de 20 disturbios,
y la mitad sucedieron en 1967,
|
|
16:24
|
including my hometown.
|
incluso en mi ciudad natal.
|
|
16:26
|
Law and order have broken down in Detroit, Michigan.
|
En Detroit, Michigan,
se vulneró el estado de derecho.
|
|
16:31
|
[reporter] This is a shot along Linwood.
|
Esta es una toma de Linwood.
|
|
16:33
|
The flames and the feelings were running hotter
|
Recrudecen el fuego y los ánimos
|
|
16:35
|
than either the mayor or the governor anticipated.
|
más de lo que previeron
el alcalde y el gobernador.
|
|
16:39
|
[Mitchell] Revolt broke out in movies too,
|
Los disturbios llegaron al cine.
|
|
16:41
|
in the independent film world.
|
En el mundo del cine independiente.
|
|
16:43
|
There, Black life didn't exist
|
Ahí, la vida de los negros no existía
|
|
16:45
|
only in the periphery of the white man's gaze,
|
solo a la sombra de los blancos,
|
|
16:48
|
and there was often room for more than one Black person on-screen.
|
y siempre había lugar
para más de una persona negra en pantalla.
|
|
16:52
|
And two of those Black talents on-screen
|
Y dos de esos talentos negros
|
|
16:54
|
simultaneously gave movie-star performances
|
nos dieron actuaciones estelares
al unísono,
|
|
16:58
|
that did not lead to movie stardom.
|
pero eso no los llevó al estrellato.
|
|
17:01
|
Well, what you doin' with a cat like me in a joint like this?
|
¿Qué haces con un tipo como yo
en un lugar como este?
|
|
17:06
|
You don't think much of yourself, do you?
|
No te valoras mucho, ¿verdad?
|
|
17:08
|
[Mitchell] In a more just world,
|
En un mundo más justo,
|
|
17:10
|
the heat and tension sparked by Ivan Dixon and Abbey Lincoln
|
la pasión y la tensión
entre Ivan Dixon y Abbey Lincoln
|
|
17:13
|
in Nothing But a Man
|
en Nothing But a Man
|
|
17:15
|
would have been a catalyst for larger careers and recognition.
|
habría catapultado sus carreras
y reconocimiento.
|
|
17:24
|
[Mitchell] Davis, with his abundant talents as singer, actor, and showman,
|
Davis, con abundantes talentos
como cantante, actor y artista,
|
|
17:28
|
was certainly capable of it.
|
sin duda era capaz de eso.
|
|
17:30
|
He showed a velvet control as a mercurial, pleasure-seeking ego trip
|
Demostró tener el control
como un narcisista voluble y sibarita
|
|
17:34
|
in 1966's A Man Called Adam.
|
en A Man Called Adam, de 1966.
|
|
17:37
|
He acted along with Cicely Tyson, Ja'Net DuBois,
|
Actuó junto a Cicely Tyson, Ja'Net DuBois,
|
|
17:40
|
and in a silent tiny role, Morgan Freeman,
|
y en un papel diminuto y silencioso,
Morgan Freeman,
|
|
17:44
|
who'd have to wait nearly 20 years to get a role to show power
|
que tendría que esperar casi 20 años
para demostrar su solidez
|
|
17:48
|
and the ability to speak.
|
y su capacidad de hablar.
|
|
17:49
|
Davis holds the movie in his clenched fist until the last act
|
Davis es inflexible hasta el último acto,
|
|
17:53
|
in which he basically apologizes for all the damage his character wreaked.
|
donde se disculpa
por todo el daño que causó su personaje.
|
|
17:59
|
All right, I was wrong, okay?
|
Me equivoqué, ¿sí?
|
|
18:01
|
I shoulda waited to find out what it was all about,
|
Debí esperar hasta averiguar qué pasaba,
|
|
18:05
|
maybe let her break your head with a bottle.
|
dejar que te rompiera la cabeza.
|
|
18:07
|
Honey, all I saw
|
Todo lo que vi, cariño,
|
|
18:09
|
was that old chick's hands on that toodle doddle--
|
fueron las manos de esa chica
en esta cosita…
|
|
18:13
|
Adam.
|
Adam.
|
|
18:17
|
[Mitchell] Van Peebles insertion of Black life without self-pity
|
Van Peebles incorpora
a los negros sin dar lástima
|
|
18:21
|
into the art-house world was a fresh, new breeze.
|
en el mundo del cine arte,
y fue una bocanada de aire fresco.
|
|
18:31
|
Studio movies were trapped in their old-fashioned patriarchal need
|
Los estudios de cine estaban atrapados
en su anticuada necesidad patriarcal
|
|
18:35
|
to shape the culture
|
de moldear la cultura
|
|
18:36
|
rather than respond to it.
|
en vez de responder a ella.
|
|
18:38
|
The corpses of misguided musicals for all ages,
|
Los cuerpos de musicales errados
para todas las edades,
|
|
18:41
|
such as this, um… [questioningly] …awesome Best Picture nominee.
|
como este… nominada a Mejor Película.
|
|
18:46
|
But the best news of '68 was Sidney Poitier's graduation
|
Pero la mejor noticia de 1968
fue la graduación de Sidney Poitier
|
|
18:50
|
from self-sacrifice for miscast white movie stars
|
del autosacrificio de malas elecciones
de elencos de estrellas blancas
|
|
18:54
|
to world domination.
|
a la dominación mundial.
|
|
18:55
|
Both Guess Who's Coming to Dinner and In the Heat of the Night
|
¿Sabes quién viene a cenar?
y Al calor de la noche
|
|
18:59
|
went wide release in 1968, the year of their Best Picture nominations,
|
se estrenaron en 1968,
año de su nominación a Mejor Película,
|
|
19:04
|
where his white costars gazed at his magnificent intensity.
|
y sus coestrellas blancas vieron
con asombro su magnífica intensidad.
|
|
19:08
|
Don't misunderstand me.
|
No me malinterprete.
|
|
19:11
|
I love your daughter. There is nothing I wouldn't do
|
Amo a su hija. No hay nada que no haría
|
|
19:14
|
to try to keep her as happy as she was the day I met her.
|
para hacerla tan feliz
como el día en que la conocí.
|
|
19:16
|
But it seems to me, without your approval, we will make no sense at all.
|
Pero creo que, sin su aprobación,
lo nuestro no tendrá sentido.
|
|
19:22
|
[Mitchell] As Mark Harris wrote in his book, Pictures at a Revolution,
|
Como escribió Mark Harris en su libro
Pictures at a Revolution,
|
|
19:26
|
"Poitier is the top box office star in America."
|
"Potier es la estrella más taquillera
de Estados Unidos".
|
|
19:34
|
Unfortunately, he's also an example of the entertainment industry's reaction
|
Por desgracia, también es un ejemplo
de la reacción de la industria
|
|
19:39
|
to success by people of color.
|
al éxito de la gente de color.
|
|
19:41
|
No one seems to think that if Sidney Poitier can draw audiences,
|
Nadie parece creer
que si Sidney Poitier atraía al público,
|
|
19:45
|
then surely one other Black man or woman might possibly be able to do so.
|
entonces cualquier otro hombre
o mujer negra posiblemente lo harían.
|
|
19:51
|
This is a time when a Black person talking to a white person on-screen
|
En esta época, que un negro
le hablara a un blanco en pantalla
|
|
19:55
|
was considered adult entertainment.
|
se consideraba cine para adultos.
|
|
20:04
|
Black success in media
|
El éxito de los negros en los medios
|
|
20:06
|
is often treated as the equivalent of finding a $100 bill on the subway,
|
es como encontrar un billete de $100
en el subterráneo,
|
|
20:10
|
a non-repeatable phenomenon.
|
es un fenómeno irrepetible.
|
|
20:13
|
When movies were first being built around, God help us, Elvis Presley
|
Cuando las películas, Dios nos ayude,
eran protagonizadas por Elvis Presley,
|
|
20:17
|
or The Beatles,
|
o los Beatles,
|
|
20:19
|
whose first releases in the US were on a Black-owned record label,
|
que lanzaron sus discos en EE. UU.
con discográficas de negros,
|
|
20:23
|
why wasn't anyone seeking out these women rock pioneers
|
¿por qué nadie buscó
a estas pioneras del rock
|
|
20:26
|
for careers in the movies?
|
para hacer carrera en el cine?
|
|
20:40
|
[Mitchell] It wouldn't be long for a new day, or night, to drop
|
No pasaría mucho hasta que llegara
un nuevo día, o una nueva noche
|
|
20:44
|
for where Black talent was most likely to be recognized,
|
donde el talento negro fuera reconocido
|
|
20:47
|
the independent film world.
|
en el cine independiente.
|
|
20:49
|
Writer-director George Romero created a new kind of action hero
|
El autor y director George Romero
creó un nuevo héroe de acción
|
|
20:53
|
by putting a movie and a gun in the hand of Duane Jones, a Black actor,
|
al dejar una película y un arma
en las manos de Duane Jones, actor negro,
|
|
20:58
|
in one of the most influential films of all time.
|
en uno de los filmes más influyentes
de todos los tiempos.
|
|
21:01
|
-I think you should just calm down. -[woman groans]
|
Tienes que calmarte.
|
|
21:04
|
Oh! I screamed, "Johnny! Johnny, help me!"
|
Grité: "Johnny, ¡ayúdame!".
|
|
21:09
|
[Mitchell] Romero also breaks with tradition by never having the hero's race mentioned
|
Romero también rompió la tradición
al no mencionar la raza del héroe
|
|
21:13
|
because the role wasn't written for a Black actor.
|
porque ese papel
no había sido escrito para un negro.
|
|
21:17
|
I'll be back to reinforce the windows and doors later.
|
Volveré más tarde
a reforzar las ventanas y las puertas.
|
|
21:21
|
But you'll be all right for now, okay?
|
Por ahora, estarás bien, ¿sí?
|
|
21:25
|
Okay?
|
¿Está bien?
|
|
21:27
|
You want the Black guy with you.
|
Quieres al negro de tu lado.
|
|
21:29
|
[chuckles] You want the Black guy with you.
|
Quieres al negro de tu lado.
|
|
21:32
|
'Cause he's gonna help you get out.
|
Porque te ayudará a salir.
|
|
21:34
|
See, if you kill him off, you're dead.
|
Si lo matan, estás muerta.
|
|
21:36
|
See, we know how to get out.
|
Sabemos cómo salir.
|
|
21:39
|
We know how to get away from the zombies.
|
Sabemos cómo huir de los zombis.
|
|
21:43
|
We know how to get away from the, you know, killing plants,
|
Sabemos cómo huir de las plantas asesinas,
|
|
21:46
|
anything that's coming to get you, 'cause we're used to…
|
de cualquier cosa que te persiga,
porque estamos acostumbrados…
|
|
21:50
|
We know how to get outta the way.
|
Sabemos cómo quitarnos del medio.
|
|
21:53
|
We know how to get outta the way and let… let other stuff happen.
|
Sabemos quitarnos del medio
y dejar que sucedan otras cosas.
|
|
21:59
|
[Mitchell] The depiction of the undead stalking potential victims
|
La representación de los zombis
acosando a las posibles víctimas
|
|
22:02
|
and windows boarded up to keep them away
|
y las ventanas entabladas
para ahuyentarlos
|
|
22:05
|
reminded me of TV riot footage.
|
me recordaban a las filmaciones
de los disturbios.
|
|
22:07
|
Never has a film been as loaded with allegory and metaphor,
|
Nunca un filme estuvo tan lleno
de alegorías y metáforas,
|
|
22:11
|
intentional and inadvertent, as Night of the Living Dead.
|
intencionales e involuntarias,
como La noche de los muertos vivos.
|
|
22:24
|
All right, hit him in the head, right between the eyes.
|
Dale en la cabeza, justo entre los ojos.
|
|
22:28
|
[Mitchell] Because Jones dies, picked off after fighting to save whites,
|
Como Jones muere después de luchar
para salvar a los blancos,
|
|
22:31
|
Night of the Living Dead was embraced by militant African Americans.
|
los afroestadounidenses militantes
aprovecharon el filme.
|
|
22:35
|
They felt it was a metaphor for not staying with your race.
|
Lo sintieron una metáfora
de no permanecer junto a los tuyos.
|
|
22:38
|
This was a sentiment I heard voiced by the boyfriends of my older sisters.
|
Eso manifestaban
los novios de mis hermanas mayores.
|
|
22:42
|
Good shot! Okay, he's dead.
|
¡Buen tiro! Bien, está muerto. Vamos por él.
Otro más para quemar.
|
|
22:44
|
Let's go get him. That's another one for the fire.
|
Bien, está muerto. Vamos por él.
Otro más para quemar.
|
|
22:48
|
[Mitchell] And in an end as chilling as the movie itself,
|
Y, al final,
escalofriante como la película en sí,
|
|
22:52
|
he's killed and tossed onto a pile of corpses.
|
lo matan y lo arrojan
a una pila de cadáveres.
|
|
23:00
|
[Robert F. Kennedy] I have some very sad news for all of you,
|
Les tengo una noticia muy triste,
|
|
23:03
|
and that is that Martin Luther King was shot and was killed tonight
|
esta noche asesinaron a Martin Luther King
|
|
23:08
|
-in Memphis, Tennessee. -[crowd screaming]
|
en Memphis, Tennessee.
|
|
23:10
|
[Mitchell] Coming in the year of Dr. Martin Luther King's assassination
|
El año del asesinato
del Dr. Martin Luther King,
|
|
23:14
|
and only a few years after the murders of Medgar Evers and Malcolm X,
|
y pocos años después de los asesinatos
de Medgar Evers y Malcolm X,
|
|
23:18
|
this movie death had larger implications
|
la muerte de esta película
tuvo más significado
|
|
23:20
|
than this writer and director ever imagined.
|
del que el escritor y director
hubiera imaginado.
|
|
23:25
|
Living Dead's success should have been confirmation
|
El éxito de Los muertos vivos
debió ser la confirmación
|
|
23:27
|
of mainstream interest in Black actors.
|
del interés de la industria
en los actores negros.
|
|
23:30
|
In the year that includes Peter Sellers playing a character of Indian descent
|
Ese año, Peter Sellers interpretó
a un personaje indio
|
|
23:34
|
in the movie biz satire The Party,
|
en la sátira La fiesta inolvidable.
|
|
23:37
|
1968 was also a year with Yul Brynner as Pancho Villa,
|
También en 1968,
Yul Brynner interpretó a Pancho Villa
|
|
23:41
|
and unfortunately, Woody Strode as an Apache.
|
y, por desgracia,
Woody Strode hizo de apache.
|
|
23:47
|
[TV host] American feature films have always been directed by white men,
|
Las películas estadounidenses
siempre son dirigidas por blancos,
|
|
23:50
|
even when the films dealt with Black life and used Black actors.
|
aun cuando tratan de la vida de los negros
y actúan actores negros.
|
|
23:54
|
Black directors are excluded,
|
Se excluye a los directores negros,
|
|
23:55
|
although Blacks now make up 30% of the total moviegoing audience.
|
aunque un 30 % de los espectadores
son negros.
|
|
23:59
|
And my associate, William Greaves, has just finished producing and directing
|
Mi colega, William Greaves,
ha terminado de producir y dirigir
|
|
24:02
|
his first feature film, Take One and Take Two.
|
su primer largometraje,
Take One and Take Two.
|
|
24:05
|
It's in the final stages of editing.
|
Está en la etapa final de edición.
|
|
24:09
|
Hello, just to set the record straight,
|
Para aclarar las cosas,
|
|
24:11
|
there've been a number of films of Black… by Black feature-film directors
|
hubo varias películas
de directores negros,
|
|
24:15
|
in the '40s, like Powell Lindsay, Oscar Micheaux, and Bill Alexander.
|
en los años 40, como Powell Lindsay,
Oscar Micheaux y Bill Alexander.
|
|
24:19
|
These directors were denied access to Hollywood,
|
A esos directores
se les negó el acceso a Hollywood,
|
|
24:22
|
and their films were seen only
|
y sus películas solo se vieron
|
|
24:23
|
in the Black communities across the country.
|
en las comunidades negras de todo el país.
|
|
24:26
|
[Mitchell] One of the myths that did constantly resurface
|
Uno de los mitos que resurgieron
|
|
24:29
|
during 1968 through '78,
|
de 1968 a 1978,
|
|
24:31
|
when a handful of Black directors finally got to step behind the camera,
|
cuando varios directores negros
al fin se pusieron tras las cámaras,
|
|
24:35
|
was that this was the first time Black directors got such chances.
|
era que, por primera vez,
los directores negros dirigían.
|
|
24:40
|
In fact, because they had to,
|
De hecho, como era necesario,
|
|
24:42
|
African Americans often wrote and directed
|
los afroestadounidenses escribían y dirigían
|
|
24:45
|
back when one person writing and directing was rare
|
cuando no era común
que la misma persona lo hiciera
|
|
24:48
|
and discouraged by the studios.
|
y los estudios lo desalentaban.
|
|
24:50
|
But the Black press supported these theaters and movies,
|
Pero la prensa negra apoyaba
a esos cines y esos filmes,
|
|
24:53
|
even as they were ignored by the mainstream.
|
aun cuando la industria los ignoraba.
|
|
24:57
|
And, getting his start in the silent era,
|
Y quien se inició
en la época del cine mudo
|
|
25:00
|
was writer, director, and occasional actor Oscar Micheaux.
|
fue el escritor, director
y actor ocasional Oscar Micheaux.
|
|
25:04
|
He made films for the circuit of Black theaters,
|
Hizo filmes
para el circuito de los cines negros.
|
|
25:06
|
many of which were not in very good shape
|
Muchos no estaban en buen estado,
|
|
25:08
|
because there was not a consistent flow of Black films
|
porque no había un flujo constante
de filmes negros
|
|
25:12
|
despite the consistency of Black audiences.
|
a pesar del constante público negro.
|
|
25:16
|
Keep in mind, many studios were afraid to offend Germany
|
Recuerden que muchos estudios
temían ofender a Alemania
|
|
25:20
|
and risk losing that business,
|
con riesgo a perder ese mercado,
|
|
25:21
|
until they were kicked out by the Nazis in 1942.
|
hasta que los nazis los echaron en 1942.
|
|
25:25
|
But African-American money wasn't good enough for them.
|
Pero no aceptaban
el dinero de los afroestadounidenses.
|
|
25:28
|
Many of those Black theaters were buildings and rooms
|
Muchos de esos cines negros
eran edificios y salas
|
|
25:31
|
that were converted into movie theaters.
|
que se convirtieron en cines.
|
|
25:34
|
On very small budgets, Micheaux and other filmmakers,
|
Con muy poco presupuesto,
Micheaux y otros cineastas,
|
|
25:37
|
even some whites, created original material
|
incluso algunos blancos,
crearon material original
|
|
25:40
|
and adapted popular books they couldn't afford to pay much for,
|
y adaptaron libros populares
por los que no podían pagar mucho,
|
|
25:44
|
but the authors went along
|
pero los autores aceptaron
|
|
25:45
|
because they wanted their books turned into movies.
|
porque querían
que se hiciera la película de su libro.
|
|
25:52
|
Astaire often played master-servant relationships in his films,
|
Astaire siempre mostraba
la relación amo-sirviente en sus filmes,
|
|
25:56
|
exaggerated in scenes where he's tapping in front of a bunch of Black actors.
|
exagerada en escenas donde baila tap
frente a un grupo de actores negros.
|
|
26:03
|
As the studios continued to hammer out a crude mythology about African Americans,
|
Los estudios seguían moldeando
su mitología de los afroestadounidenses,
|
|
26:08
|
director Alice Guy-Blaché decided to do something else entirely.
|
pero la directora Alice Guy-Blaché
decidió cambiar el rumbo.
|
|
26:12
|
In 1912, she directed A Fool and His Money,
|
En 1912, dirigió A Fool and His Money,
|
|
26:16
|
what's said to be the first film with an all-African-American cast.
|
el primer filme con un elenco completo
de afroestadounidenses.
|
|
26:20
|
Her artistry showed a playful clarity and did not diminish those actors.
|
Su arte mostró una claridad alegre
que no menospreció a estos actores.
|
|
26:29
|
She was successful enough in those days that studios sought her out,
|
Ya era exitosa en esa época,
los estudios la buscaban,
|
|
26:33
|
and given the care she used to make her art,
|
y como era muy cuidadosa en su arte,
|
|
26:35
|
it was only logical that she turned down the chance
|
fue lógico que rechazara
|
|
26:38
|
to make the first Tarzan movie.
|
hacer la primera película de Tarzán.
|
|
26:42
|
The Black filmmakers of that era were hustling, driven cinema lovers
|
Los cineastas negros de esa época
eran amantes incansables del cine
|
|
26:45
|
who worked an early version of independent film.
|
que crearon una versión preliminar
del cine independiente.
|
|
26:49
|
Back in this day, "independent film" didn't mean
|
En esos días,
"cine independiente" no significaba
|
|
26:52
|
being a cool, desirable outsider
|
ser un tipo de afuera con onda,
|
|
26:54
|
whose success got you access to incredible resources.
|
cuyo éxito le daba acceso
a recursos increíbles.
|
|
26:58
|
It meant you were locked out of the theaters
|
Significaba que te expulsaban
|
|
27:00
|
by the studios who owned them.
|
los estudios propietarios de los cines.
|
|
27:02
|
You were left to invent ways to get your product to audiences.
|
Tenías que idear formas
de que tu producto llegara al público.
|
|
27:06
|
Micheaux and his like-minded spirits
|
Micheaux y sus colegas
|
|
27:09
|
were making dramas, comedies, musicals, and murder mysteries.
|
hacían drama, comedia, musicales
y misterios de asesinatos.
|
|
27:14
|
Sometimes smashing the genres together into a single film
|
A veces, mezclaban géneros
en una misma película
|
|
27:18
|
because their resources were limited
|
porque sus recursos eran limitados,
|
|
27:20
|
even though their ambitions were not.
|
aunque sus ambiciones no lo fueran.
|
|
27:22
|
Because, for most of the history of the movies,
|
En casi toda la historia del cine,
|
|
27:26
|
studios have been content to leave Black money on the table,
|
los estudios se conformaban
con ignorar el dinero de los negros,
|
|
27:29
|
and Black enterprise has responded, creating, as it always has,
|
y los empresarios negros respondieron,
como siempre,
|
|
27:33
|
a de facto underground economy and culture.
|
creando una economía y cultura de facto.
|
|
27:43
|
[Mitchell] Though we wouldn't see evidence of it until later,
|
Aunque no veríamos
la prueba de ello hasta más tarde,
|
|
27:46
|
actor-turned-filmmaker William Greaves used the medium
|
William Greaves, actor
devenido en cineasta, utilizó el medio
|
|
27:49
|
in a way that feels novelistic now.
|
de un modo que ahora parece novelesco.
|
|
27:52
|
After losing interest in acting
|
Tras perder interés en la actuación,
|
|
27:54
|
because of the simplistic uplift he'd been cast in…
|
por los papeles simplistas y optimistas
que le ofrecían…
|
|
27:57
|
Well, now, Aunt Hattie, everything moves fast in war.
|
Verás, Tía Hattie,
todo se mueve rápido en la guerra.
|
|
28:01
|
Even our religious services had to be speeded up.
|
Hasta se aceleran los sermones religiosos.
|
|
28:04
|
…he begins production on a pioneering effort,
|
…empezó a producir,
en un esfuerzo sin precedentes,
|
|
28:06
|
Symbiopsychotaxiplasm.
|
Symbiopsychotaxiplasm.
|
|
28:10
|
No, I said, "Don't touch me, please." Don't ever touch me ever again, ever.
|
No, dije: "No me toques, por favor".
No vuelvas a tocarme jamás.
|
|
28:14
|
[Mitchell] Symbiopsychotaxiplasm's ambitions, both formal and freewheeling,
|
Las ambiciones de Symbiopsychotaxiplasm desde lo formal y sin tapujos,
eran tan grandes como tu título.
|
|
28:18
|
were as big as its title.
|
desde lo formal y sin tapujos,
eran tan grandes como tu título.
|
|
28:20
|
It plays with time in every way possible.
|
Juega con el tiempo
de todas las formas posibles.
|
|
28:24
|
The director, Bill Greaves,
|
El director, Bill Greaves,
|
|
28:26
|
he is so far in… into, you know, making the film, that he has no perspective.
|
se mete tanto en la película
que no tiene perspectiva.
|
|
28:31
|
And if you ask him, "What is the film about?" you know,
|
Y si le preguntas
de qué trata la película, te da una respuesta
más vaga que la pregunta.
|
|
28:34
|
he just gives you some answer that's just vaguer than the question.
|
te da una respuesta
más vaga que la pregunta.
|
|
28:38
|
[Louise Greaves] I think he was kind of torn. He wanted to see the scene well-done.
|
Creo que estaba tironeado.
Quería ver que la escena se hiciera bien.
|
|
28:44
|
He wanted his actors to be inspired in some way.
|
Quería que sus actores se inspiraran.
|
|
28:48
|
So I think he was being both pushed and pulled in both directions.
|
Creo que lo tironeaban
en ambas direcciones.
|
|
28:52
|
That's my theory, anyway.
|
Esa es mi teoría.
|
|
28:55
|
[Mitchell] For decades, people would tie themselves up into knots
|
Durante décadas, la gente se confundía
|
|
28:58
|
trying to describe Symbiopsychotaxiplasm.
|
al querer describir Symbiopsychotaxiplasm.
|
|
29:02
|
It's now a kind of film so common that it's become its own genre,
|
Ahora es un tipo de película tan común
que es un género en sí,
|
|
29:06
|
the innovative, social satire, prank film.
|
el filme innovador,
de sátira social y burla.
|
|
29:11
|
Director Jules Dassin, who had been, if you'll pardon the expression,
|
El director Jules Dassin, que fue,
si me disculpan la expresión,
|
|
29:15
|
blacklisted, brought race politics to a studio thriller
|
incluido en una lista negra, llevó
el racismo en la política a un thriller
|
|
29:19
|
in Uptight, which he wrote for the film's Black costars.
|
en No delatarás, que escribió
para las coestrellas negras del filme.
|
|
29:23
|
Dassin, Dee, and Mayfield were shrewd, earnest, and shameless,
|
Dassin, Dee y Mayfield eran
astutos, serios y desvergonzados
|
|
29:28
|
enfolding the world-gone-wrong impact of Dr. King's death into a genre film.
|
e incorporaron el impacto tremendo
de la muerte del Dr. King en el filme.
|
|
29:35
|
[Fishburne] Martin Luther King was assassinated in '68.
|
Martin Luther King fue asesinado en 1968.
|
|
29:38
|
My mother dropped everything and went to the funeral.
|
Mi madre dejó lo que estaba haciendo
y fue al funeral.
|
|
29:42
|
She didn't know this man,
|
No lo conocía,
|
|
29:44
|
but she dropped everything and put on her best clothes and left.
|
pero dejó todo lo que estaba haciendo,
se puso su mejor ropa y se fue.
|
|
29:49
|
And that was, like, "Oh, so this is important?"
|
Y pensé: "Entonces, es importante".
|
|
29:51
|
Like, this guy was important.
|
Este tipo era importante.
|
|
29:53
|
What he was doing was important. What he was talking about was important.
|
Lo que hacía era importante.
Lo que decía era importante.
|
|
29:58
|
We are important.
|
Nosotros somos importantes.
|
|
30:00
|
Our voices, our hopes, our dreams, our aspirations,
|
Nuestras voces, esperanzas,
sueños, aspiraciones,
|
|
30:03
|
all that stuff, that's important.
|
todo eso es importante.
|
|
30:05
|
[Martin Luther King] We hold these truths to be self-evident.
|
Vemos estas verdades como obvias.
|
|
30:08
|
[Mitchell] Uptight depicted the shaky anguish
|
No delatarás mostraba
la angustia temblorosa
|
|
30:10
|
and free-floating fury of a society desperate for answers,
|
y la ira imperante
en una sociedad sedienta de respuestas,
|
|
30:14
|
the heart of genre film.
|
la esencia de un filme de género.
|
|
30:16
|
[Jackson] The day after Dr. King got killed,
|
El día después de la muerte del Dr. King,
|
|
30:18
|
we got on a plane in Atlanta, from Morehouse Spelman,
|
nos subimos a un avión en Atlanta,
en Morehouse Spelman,
|
|
30:21
|
and flew to Memphis and marched with the garbage workers.
|
y fuimos a Memphis
a marchar con los recolectores de basura.
|
|
30:24
|
And we had those "I am a man" signs. We used to have them in the house.
|
Teníamos carteles de "Soy un hombre".
Los teníamos en casa.
|
|
30:36
|
[Mitchell] In an audacious turn on the heist genre,
|
En un giro audaz del género
de las películas de robo,
|
|
30:39
|
a group of revolutionaries is out to stage a robbery
|
un grupo de revolucionarios hará un robo
|
|
30:41
|
while Cleveland reels after Dr. King's assassination.
|
mientras Cleveland se tambalea
tras el asesinato del Dr. King.
|
|
30:45
|
A key member of the team,
|
Un miembro importante del equipo,
|
|
30:47
|
at loose ends because of the chaos spilling from King's death,
|
sin saber qué hacer por el caos
causado por la muerte de King,
|
|
30:50
|
has a crisis of conscience.
|
tiene una crisis de conciencia.
|
|
30:52
|
I've never felt so bad in all my life.
|
Nunca me sentí tan mal en mi vida.
|
|
30:55
|
Uptight is a contemporary version of a 1935 John Ford movie
|
No delatarás es una versión contemporánea
del filme de John Ford de 1935,
|
|
31:00
|
and begins a cycle where Black concerns are folded into remakes.
|
y comienza un ciclo de remakes
sobre problemáticas de los negros.
|
|
31:04
|
[Jackson] Is that the one that's like a remake of The Informer?
|
¿Es la remake de No delatarás?
|
|
31:07
|
I knew what The Informer was, so when I saw that, I knew exactly what it was.
|
Sabía que era el argumento
de No delatarás apenas la vi.
|
|
31:10
|
So, you look at it, and everybody had a thing
|
Cuando la ves, todos saben
|
|
31:13
|
about, you know, certain kinds of people was just the police.
|
que cierto tipo de personas son policías.
|
|
31:17
|
If you're at a party, and you're passing a joint around,
|
Si estás en una fiesta pasando un porro,
|
|
31:19
|
and a dude don't take the joint and hands it to somebody else…
|
el tipo que no lo agarra y se lo da a otro
|
|
31:21
|
[muttering] …it's like, "Oh man, he's the police." You know?
|
es el policía, ¿entiendes?
|
|
31:24
|
Or… or somebody is acting strange, you know, around the group when y'all…
|
O si alguien del grupo se comportaba raro,
|
|
31:29
|
you know, when we was revolutionaries,
|
cuando éramos revolucionarios,
|
|
31:31
|
when you had a revolutionary cadre of your own, uh,
|
cuando tenías tu grupo revolucionario,
|
|
31:35
|
there was always somebody who was suspect.
|
siempre había alguien sospechoso.
|
|
31:37
|
So having that movie be that was, you know, like that.
|
Así que esa película lo mostraba.
|
|
31:42
|
[Mitchell] In his autobiography, Booker T. Jones, who composed the score,
|
En su autobiografía, Booker T. Jones,
que compuso la música,
|
|
31:46
|
said some called Uptight the first blaxploitation film.
|
dijo que No delatarás fue
la primera película de explotación negra.
|
|
31:51
|
On another continent, from another culture,
|
En otro continente, desde otra cultura,
|
|
31:54
|
was a studio film from Italy,
|
había un estudio cinematográfico
de Italia,
|
|
31:56
|
and, like many movies that changed the medium,
|
y como muchas películas
que cambiaron el medio,
|
|
31:58
|
it was from a genre dismissed as second-rate,
|
fue un género desestimado
como de baja calidad,
|
|
32:01
|
in this case, the spaghetti western.
|
en este caso, el spaghetti western.
|
|
32:07
|
A little later in the movie,
|
Más adelante en la película,
|
|
32:09
|
this scene was something the director wanted to use
|
el director quiso usar esta escena
|
|
32:12
|
to drive a stake through the heart of audience expectation.
|
para clavar una estaca
en el corazón del público expectante.
|
|
32:15
|
Making Henry Fonda cold-blooded was shattering.
|
Mostrar a Henry Fonda despiadado
fue desgarrador.
|
|
32:19
|
He was America's big-screen moral compass.
|
Era el faro moral del cine estadounidense.
|
|
32:22
|
But Isaac Hayes, in need of a hit,
|
Pero Isaac Hayes necesitaba un éxito,
|
|
32:24
|
was inspired by seeing Leone's perverse use of Fonda,
|
y se inspiró al ver el uso perverso
que Leone hizo de Fonda,
|
|
32:28
|
who belonged on the movie Mount Rushmore of white decency
|
que era todo un ícono
de la decencia blanca
|
|
32:31
|
with John Wayne, Jimmy Stewart, and Shirley Temple.
|
junto con John Wayne,
Jimmy Stewart y Shirley Temple.
|
|
32:36
|
So moved that producer-performer Hayes created this piece of music.
|
Hayes, productor y artista, se conmovió
tanto, que compuso esta música.
|
|
32:58
|
Hayes told me that he would escape the malfunctioning air-conditioning
|
Hayes me dijo que huía
del aire acondicionado defectuoso
|
|
33:02
|
at Stax Studios by going to see this movie,
|
de Stax Studios para ir a ver la película,
|
|
33:05
|
which he caught at least ten times.
|
que vio al menos diez veces.
|
|
33:07
|
Woody Strode's towering presence convinced Hayes
|
La enormidad de Woody Strode
convenció a Hayes
|
|
33:09
|
that he could one day be a movie star,
|
de que algún día
podía ser estrella de cine,
|
|
33:12
|
and in a genre where Black inclusion was marginal at best, the Western.
|
en un género como el western,
donde los negros tenían papeles mínimos.
|
|
33:16
|
More importantly, Once Upon a Time also motivated Hayes to create this
|
Y es más, esa película
también motivó a Hayes a crear esto
|
|
33:21
|
for his Hot Buttered Soul album.
|
para su disco Hot Buttered Soul.
|
|
33:34
|
When Gordon Parks adapted his semi-autobiographical novel,
|
Cuando Gordon Parks adaptó
su novela casi autobiográfica,
|
|
33:38
|
The Learning Tree, in 1969,
|
en 1969, The Learning Tree,
|
|
33:40
|
he made the first studio-financed film by an African-American director.
|
fue el primer director afroestadounidense
financiado por un estudio.
|
|
33:45
|
Warner Bros. got its money's worth from the photographer-turned-filmmaker.
|
Warner Bros. le pagó
al fotógrafo devenido en cineasta.
|
|
33:49
|
He wrote, directed, produced, and composed the score.
|
Fue guionista, director, productor
y compositor de la música.
|
|
33:53
|
He joked to me that the only reason he didn't star in it
|
Decía en chiste
que no protagonizó la película
|
|
33:57
|
was because he was too tall.
|
porque era demasiado alto.
|
|
33:59
|
Learning Tree follows Newt, a 12-year-old, over the course of a summer.
|
Learning Tree es la historia de Newt,
un chico de 12 años, durante un verano.
|
|
34:04
|
One incident carries a resonance that the movie can't shake.
|
Un incidente de la película
se vuelve inolvidable.
|
|
34:08
|
Run, Tuck, run!
|
¡Corre, Tuck!
|
|
34:09
|
A moment so potent it seems surreal and way too real,
|
Un momento tan potente que parece
surrealista y, a la vez, muy real,
|
|
34:13
|
a beat that didn't get it's due at the time.
|
algo que no se apreció en ese momento.
|
|
34:15
|
-[man] Stop, damn it! I'll shoot! -[gun fires]
|
¡Alto o disparo!
|
|
34:38
|
You didn't have to shoot Tuck.
|
No tenía que matar a Tuck.
|
|
34:41
|
Now you can see what happens to criminals.
|
Ahora ven
lo que les pasa a los delincuentes.
|
|
34:43
|
[Mitchell] The type of scene we all knew about but never expected to see in a movie.
|
Una escena que todos conocíamos,
pero que no esperábamos ver en un filme.
|
|
34:48
|
And Parks also told me he packed as much as he could into the film,
|
Parks también me dijo que incluyó
todo lo que podía en la película,
|
|
34:52
|
such as this glorious image claiming the Western for Black audiences,
|
como la imagen gloriosa
que lleva el western al público negro,
|
|
34:57
|
because he didn't know
|
porque no sabía
|
|
34:58
|
if he'd ever get a chance to make another one.
|
si tendría la oportunidad de hacer otra.
|
|
35:02
|
1969 took us from the hyperreal to the unreal.
|
1969 nos llevó
del hiperrealismo a lo irreal.
|
|
35:06
|
The wildness flowered in full force
|
La locura en todo su esplendor,
|
|
35:08
|
in writer-director Robert Downey Sr.'s revolutionary comedy about revolution,
|
la comedia revolucionaria
de Robert Downey Sr. sobre la revolución,
|
|
35:14
|
the advertising satire Putney Swope.
|
la sátira sobre publicidad Putney Swope.
|
|
35:17
|
You can't eat an air conditioner.
|
No puedes comer un aire acondicionado.
|
|
35:20
|
[Mitchell] Here, a Black man, Putney Swope,
|
Un hombre negro, Putney Swope,
|
|
35:22
|
is suddenly made the head of an advertising agency…
|
es nombrado director
de una agencia de publicidad…
|
|
35:25
|
You're gonna make a great chairman.
|
Serás un gran director.
|
|
35:27
|
…and immediately upends the way the agency does business.
|
…e inmediatamente cambia
el negocio de la agencia.
|
|
35:30
|
I have a feeling that there's a lot of untapped talent around here.
|
Tengo la sensación de que hay
mucho talento desaprovechado.
|
|
35:35
|
I didn't do it!
|
¡Yo no fui!
|
|
35:36
|
Then what are you doing? Taking her temperature?
|
¿Le estás tomando la temperatura entonces?
|
|
35:38
|
Boss, don't fire me. I got a wife, three kids, and a Shetland pony.
|
Jefe, no me despida. Tengo esposa,
tres hijos y un poni de las Shetland.
|
|
35:43
|
You can get more said with comedy than you can get said straight,
|
Con la comedia dices más que sin comedia,
|
|
35:48
|
and I think that's what Blacks had to survive.
|
y creo que a eso
tuvimos que sobrevivir los negros.
|
|
35:51
|
You had to, uh, make 'em laugh under the subtext.
|
Había que hacer reír bajo el subtexto.
|
|
35:55
|
Downey saw an opening
|
Downey vio una oportunidad.
|
|
35:58
|
where we could play and be cutting and biting.
|
Podíamos actuar e ir editando.
|
|
36:02
|
And I don't use words like "genius," but it was a stroke of something.
|
No quiero usar el término "genio",
pero se acercaba mucho al concepto.
|
|
36:06
|
[Mitchell] Unhappy with the performance of his star, actor Arnold Johnson,
|
Disconforme con la actuación
de Arnold Johnson, la estrella,
|
|
36:11
|
director Downey dubbed his own voice for his lead Black character…
|
el director Downey dobló su propia voz
para el protagonista negro…
|
|
36:15
|
Truth and Soul!
|
¡Verdad y alma!
|
|
36:18
|
-[man] TS, baby. -That's right!
|
- VA, nene.
- Así es.
|
|
36:20
|
…a move that surely later influenced
|
…una estrategia que seguro influyó
|
|
36:22
|
his son's Oscar-nominated role in Tropic Thunder.
|
en su hijo nominado al Óscar
en Una guerra de película.
|
|
36:25
|
'Cause I'm trying to come up a little, but it's just… it's tough.
|
Trato de estar a la altura,
pero es difícil.
|
|
36:28
|
-No, you look good. -Any tips?
|
- Te ves bien.
- ¿Algún consejo?
|
|
36:32
|
[Mitchell] 1969 was a watershed period in Black film,
|
1969 fue un período bisagra
en la filmografía negra,
|
|
36:35
|
in which stories took a harsher and more realistic look
|
con una mirada más cruda y realista
|
|
36:38
|
at Black life in the past,
|
de la vida de los negros en el pasado.
|
|
36:40
|
such as with the first American films to deal, in somewhat stark terms,
|
Como una de las primeras películas
en mostrar con crudeza
|
|
36:45
|
with slavery.
|
la esclavitud.
|
|
36:46
|
The movie was called Slaves,
|
La película se llamaba Cadenas de odio,
|
|
36:48
|
which both starred Dionne Warwick
|
protagonizada por Dionne Warwick
|
|
36:50
|
and offered her singing about a different kind of hurt
|
y que le dio a su canto
otro tipo de sufrimiento
|
|
36:53
|
than one might have expected from her.
|
del que se esperaría de ella.
|
|
36:56
|
Ossie Davis plays a slave attempting to hold onto logic
|
Ossie Davis interpreta a un esclavo
que intenta entender la lógica
|
|
36:59
|
in a system that has none.
|
en un sistema que no la tiene.
|
|
37:00
|
Twelve hundred twice. Anyone else?
|
Mil doscientos a las dos. ¿Alguien más?
|
|
37:03
|
[Mitchell] Davis's regal slow burn doesn't hide his despair.
|
La ira acumulada de Davis
no esconde su desesperación.
|
|
37:07
|
In fact, it magnifies this.
|
De hecho, magnifica esto.
|
|
37:16
|
The historic tumult continues when Rupert Crosse becomes
|
El conflicto histórico continúa
cuando Rupert Crosse se convierte
|
|
37:19
|
the first Black actor to be nominated for an Oscar for Best Supporting Actor
|
en el primer negro nominado
a un Óscar como mejor actor de reparto
|
|
37:23
|
for The Reivers.
|
por Los bribones.
|
|
37:29
|
How do you start this thing?
|
¿Cómo se arranca esta cosa?
|
|
37:31
|
[Mitchell] Crosse's sunny fluidity frees McQueen from his laconic narcissism.
|
La naturalidad de Crosse libera
a McQueen de su narcisismo lacónico.
|
|
37:35
|
He pays attention to Crosse
|
Le presta atención a Crosse,
|
|
37:37
|
and allows us to honor Crosse in the same way.
|
y nos permite honrarlo del mismo modo.
|
|
37:41
|
Ten years earlier, Crosse was featured in Shadows,
|
Diez años antes, Crosse actuó en Sombras,
|
|
37:44
|
John Cassavetes' 1959 race drama that was, of course, independently made.
|
el drama racial de John Cassavetes,
que, claro, fue un filme independiente.
|
|
37:50
|
You like that one about the rabbit and the tree?
|
¿Te gusta el cuento del conejo y el árbol?
|
|
37:53
|
I don't know that one.
|
No lo conozco.
|
|
37:55
|
You know that one about the rabbit that fell on out the tree and says,
|
Un conejo se cae de un árbol y dice:
|
|
37:58
|
"Man, that lovemaking's for the birds."
|
"Aquí solo pueden hacer el amor
los pájaros".
|
|
38:01
|
[Mitchell] Director Mark Rydell,
|
El director Mark Rydell,
|
|
38:02
|
who knew Crosse from the Actors Studio, brought him into The Reivers.
|
que conocía a Crosse de Actors Studio,
lo llevó a Los bribones.
|
|
38:06
|
[Rydell] Rupert Crosse was 6 foot 5 inches tall,
|
Rupert Crosse medía 1,98 metros,
|
|
38:09
|
and I knew he was right for the part to play opposite Steve.
|
y sabía que era perfecto
para actuar con Steve.
|
|
38:13
|
It was awesome to drive up to Steve McQueen's house
|
Fue increíble llegar
a la casa de Steve McQueen,
|
|
38:16
|
because there were maybe ten garages
|
porque había como diez cocheras
|
|
38:19
|
with all kinds of cars, Ferraris and, uh, Aston Martins
|
con todo tipo de autos,
Ferraris, Aston Martins
|
|
38:23
|
and racing motorcycles.
|
y motocicletas de carrera.
|
|
38:25
|
An enormous piece of property, a courtyard. It was… it was very lavish.
|
Una propiedad enorme con patio.
Era muy lujosa.
|
|
38:29
|
And Rupert had never seen anything like that before,
|
Rupert nunca había visto algo así,
|
|
38:32
|
and I must tell you, I hadn't either till I met Steve.
|
y les aseguro que yo tampoco,
hasta que conocí a Steve.
|
|
38:36
|
I lived a little bit more modestly but certainly better than Rupert,
|
Yo vivía de manera más modesta,
pero mejor que Rupert,
|
|
38:39
|
who had no… no money and was living like a young actor.
|
que no tenía dinero
y vivía como todo actor joven.
|
|
38:42
|
Well, we walked into the house, and Rupert met Steve,
|
Entramos a la casa, Rupert conoce a Steve,
|
|
38:45
|
and, uh, Steve looked up at this giant, and we sat down in his kind of library,
|
y Steve mira a ese gigante desde abajo.
Nos sentamos en la biblioteca,
|
|
38:50
|
and Steve began to talk about, uh, tae kwon do.
|
y Steve empezó a hablar de tae kwon do.
|
|
38:53
|
You know, he was a master of those fighting disciplines,
|
Era experto
en esas disciplinas de combate.
|
|
38:57
|
and, uh, he was showing Rupert some moves, and Rupert said,
|
Le mostró a Rupert
algunos movimientos, y Rupert,
|
|
39:00
|
"No, you're off-balance," said Rupert from his chair.
|
desde donde estaba sentado, dijo:
"Estás desequilibrado".
|
|
39:05
|
And I saw-- And Steve looked at him, he said, "Oh?"
|
Vi que Steve lo miró sorprendido.
|
|
39:09
|
He said, "Yes, you're off-balance, you know."
|
Rupert dijo: "Sí, estás desequilibrado.
|
|
39:11
|
"It's wrong, the way you're standing." So Steve said, "Show me."
|
Estás mal parado".
Steve dijo: "Muéstrame".
|
|
39:15
|
And Rupert uncoiled and stood up at his height,
|
Rupert desplegó toda su altura,
|
|
39:19
|
and they faced one another, and in two seconds,
|
quedaron cara a cara, y en dos segundos,
|
|
39:22
|
Steve was flying through the air
|
Steve voló por los aires
|
|
39:25
|
under the billiard table in the-- Actually, the next room.
|
bajo la mesa de billar,
hasta la sala contigua.
|
|
39:28
|
So-- And I thought, "Well, the picture's over."
|
Entonces, pensé: "Adiós a la película.
|
|
39:31
|
"You know, there goes Rupert."
|
Es el final de Rupert".
|
|
39:33
|
But the truth of the matter is Steve was thrilled, you know,
|
Pero, la verdad, a Steve le fascinó
|
|
39:37
|
that, uh… that this guy was not afraid of him.
|
que este tipo no le temiera.
|
|
39:39
|
[Mitchell] Among the curious and forward-thinking artists that populated LA's film world,
|
Entre los artistas curiosos y progresistas
del mundo cinematográfico de Los Ángeles,
|
|
39:44
|
which included Jack Nicholson and screenwriter Robert Towne,
|
entre ellos, Jack Nicholson
y el guionista Robert Towne,
|
|
39:48
|
Rupert Crosse was a charismatic figure, admired for his talent.
|
Rupert Crosse fue una figura carismática
admirada por su talento.
|
|
39:52
|
As Jim Brown and Rupert Crosse
|
Jim Brown y Rupert Crosse
|
|
39:54
|
were presenting a new type of Black masculinity,
|
mostraban un nuevo tipo
de masculinidad negra,
|
|
39:57
|
Brown, who was simultaneously courtly and impatient,
|
Brown, que era
amable e impaciente a la vez ,
|
|
40:01
|
and Crosse's smiling insolence,
|
y la sonrisa insolente de Crosse.
|
|
40:03
|
Muhammad Ali, who was for me the second Black public figure
|
Muhammad Ali, para mí,
la segunda figura pública negra
|
|
40:07
|
to be the same with Black audiences as with white audiences,
|
en ser aceptada por igual
por público negro y blanco,
|
|
40:10
|
had his version of courtliness and insolence displayed
|
mostró su versión
de amabilidad e insolencia
|
|
40:13
|
in the 1970 documentary a.k.a. Cassius Clay.
|
en el documental de 1970
a.k.a. Cassius Clay.
|
|
40:16
|
[narrator] He was paying lawyers to keep him out of jail,
|
Les pagaba a abogados
para que lo sacaran de la cárcel,
|
|
40:19
|
paying alimony to his first wife,
|
le pagaba alimentos a su primera esposa,
|
|
40:21
|
supporting his current wife and child.
|
mantenía a su esposa actual y a su hija.
|
|
40:25
|
[Mitchell] This unusual documentary caught Ali at the crossroads of who he was
|
Este raro documental muestra a Ali
en una encrucijada de quién era
|
|
40:29
|
and who he would become.
|
y en quién se convertiría.
|
|
40:31
|
Important because it shows the self-possession
|
Es importante
porque muestra el autocontrol
|
|
40:33
|
that will be the core of Black film.
|
que pasaría a ser la esencia
de las películas negras.
|
|
40:36
|
And the first such Black figure to break through in the same way as Ali,
|
La primera figura negra
que traspasaba la pantalla como Ali
|
|
40:40
|
not trying to hide from the mainstream gaze,
|
y que no se escondía
de la mirada de la sociedad
|
|
40:42
|
was Jack Johnson, whose struggles were depicted in the play
|
fue Jack Johnson,
cuya lucha se mostró en la obra
|
|
40:45
|
and now the movie The Great White Hope,
|
y ahora película La gran esperanza blanca,
|
|
40:48
|
where James Earl Jones would become the second Black man
|
donde James Earl Jones
sería el segundo negro
|
|
40:51
|
to get a Best Actor nomination.
|
nominado a Mejor Actor.
|
|
41:04
|
[Mitchell] James Earl Jones rose to the occasion as a lean sexual presence
|
James Earl Jones estuvo a la altura
con su presencia sexual esbelta,
|
|
41:09
|
for one of the few times in his on-screen career.
|
una de las pocas veces
en su carrera cinematográfica.
|
|
41:11
|
-No, no! I'm-- -Put your clothes on, Miss Bachman.
|
- ¡No! Yo…
- Vístase, Srta. Bachman.
|
|
41:14
|
-We'll take you into town. -Jake!
|
- La llevaremos.
- ¡Jake!
|
|
41:15
|
Don't you fret now. Just get dressed.
|
No te asustes. Vístete.
|
|
41:17
|
[Mitchell] Interracial sexuality and the unease it created
|
El sexo interracial
y la incomodidad que causó
|
|
41:21
|
whipped up waves of anxiety in film in 1970.
|
provocó mucha ansiedad en el cine de 1970.
|
|
41:24
|
The Great White Hope reminded viewers
|
La película le recordaba al público
|
|
41:26
|
that those relationships were based on appetites.
|
esas relaciones
basadas en la atracción sexual.
|
|
41:29
|
The changes left at least one esteemed filmmaker at a loss,
|
Los cambios dejaron perplejo
a un cineasta respetado,
|
|
41:33
|
director William Wyler, whose ability to depict societal shift
|
el director William Wyler, cuya capacidad
para mostrar el cambio social
|
|
41:36
|
can be seen in films such as The Best Years of Our Lives.
|
se ve en filmes
como Lo mejor de nuestra vida.
|
|
41:41
|
And Wyler set a template with his 1965 proto-stalker film, The Collector.
|
Wyler sentó precedente
con su filme de 1965, El coleccionista.
|
|
41:46
|
His last film was The Liberation of L.B. Jones,
|
Su última película,
No se compra el silencio,
|
|
41:49
|
and his power to coherently translate up-to-the-minute drama failed him
|
y su capacidad de traducir
el drama actual le falló
|
|
41:54
|
with this hysterical fetishizing of Black female flesh.
|
con su fetichismo histérico
por la sexualización femenina negra.
|
|
42:02
|
-You fancy goin' to lawyers? -Sugar boy, you bustin' my arm.
|
- ¿Quieres abogados?
- Me estás rompiendo el brazo, cariño.
|
|
42:05
|
You fancy goin' to lawyers! You think they wouldn't warn a white man?
|
¡Quieres abogados!
¿Crees que no le advertirán a un blanco?
|
|
42:10
|
I seen fools, but you take the sap-suckin' prize.
|
He visto tontos,
pero tú te llevas el premio mayor.
|
|
42:14
|
[Mitchell] After directing the documentary King: A Filmed Record,
|
Tras dirigir el documental
King: De Montgomery a Memphis,
|
|
42:18
|
Sidney Lumet turned to something that sounded tantalizing,
|
Sidney Lumet recurrió al algo
que parecía tentador,
|
|
42:20
|
a Gore Vidal script adapted from a Tennessee Williams play
|
un guion de Gore Vidal adaptado
de una obra de Tennessee Williams
|
|
42:24
|
dealing with race and sex
|
que hablaba de racismo y sexo,
|
|
42:26
|
with James Coburn, Robert Hooks, and Lynn Redgrave.
|
con James Coburn,
Robert Hooks y Lynn Redgrave.
|
|
42:30
|
The desperate-to-be-lurid result was Last of the Mobile Hotshots,
|
El intento desesperado por ser polémico
fue Last of the Mobile Hotshots,
|
|
42:33
|
which got an X rating,
|
que recibió clasificación X
|
|
42:35
|
apparently because a Black man might have sex with a white woman.
|
porque un negro tenía relacione sexuales
con una mujer blanca.
|
|
42:41
|
The oven door's broke, the roof leaks, the toilet runs all day,
|
La puerta del horno se rompió… …el techo tiene goteras,
el inodoro pierde,
|
|
42:46
|
and you awful cute to be a landlord.
|
y tú eres muy lindo para ser casero.
|
|
42:48
|
[Mitchell] Diana Sands' ability to enchant was evident in 1970's The Landlord,
|
El encanto de Diana Sands
fue notorio en Amor… sublime amor de 1970.
|
|
42:53
|
and this early story of the turmoil caused by an overprivileged white man
|
Esta historia preliminar del revuelo
causado por un blanco con privilegios
|
|
42:58
|
gentrifying an all-Black Brooklyn street continued the trend,
|
queriendo aburguesar una calle de negros
en Brooklyn era tendencia,
|
|
43:01
|
that of a Black writer, Bill Gunn, adapting a novel
|
tanto que un guionista negro, Bill Gunn,
adaptó la novela
|
|
43:05
|
by a Black writer, Kristin Hunter.
|
de una escritora negra, Kristin Hunter.
|
|
43:09
|
This actor's earthy commonsense command was made for the screen.
|
La naturalidad de esta actriz
era ideal para la gran pantalla.
|
|
43:13
|
Sands could convey as much with a chuckle and a smile
|
Sands transmite tanto
con una risita y una sonrisa
|
|
43:16
|
as most actors could with pages of dialogue.
|
que muchos actores con páginas de diálogo.
|
|
43:23
|
[Glynn Turman] Diana Sands was just the perfect auntie because she knew how to be a big kid.
|
Diana Sands era la tía perfecta
porque sabía ser una mujer de verdad.
|
|
43:28
|
She was such a… a giving person,
|
Era muy generosa,
|
|
43:31
|
such a joy, uh, to be around.
|
era un placer estar con ella.
|
|
43:35
|
[Mitchell] 1970 brought Chester Himes to the screen in a way that finally made sense.
|
En 1970, Chester Himes
por fin llegó al cine y todo tuvo sentido.
|
|
43:40
|
In his directorial debut,
|
En su debut como director,
|
|
43:42
|
Ossie Davis spins the long-standing myth of the emotional Black sexpot on its head
|
Ossie Davis desmitifica
a idea del negro sexi
|
|
43:47
|
by using a scene right from Himes' novel.
|
con una escena de la novela de Himes.
|
|
43:50
|
In his book, Himes adds a hint of bitterness
|
En su libro,
Himes agrega un poco de amargura
|
|
43:53
|
to this turn-the-tables anecdote about a Black woman luring a white cop
|
a esta anécdota sobre una mujer negra
que atrae a un policía blanco
|
|
43:57
|
into sexual humiliation.
|
y lo humilla sexualmente.
|
|
43:59
|
Please, baby.
|
Por favor, cariño.
|
|
44:03
|
Please.
|
Por favor.
|
|
44:09
|
[Mitchell] The film adaptation cranked the glee
|
La adaptación cinematográfica
aumenta el placer
|
|
44:11
|
of an audience bored by Black degradation
|
de un público aburrido
por la degradación de los negros,
|
|
44:14
|
and revels in Davis's flipping the script under a proscenium arch.
|
y el guion de Davis invierte los roles
bajo un proscenio.
|
|
44:18
|
-[man] Halt in the name of the law! -[gun fires] -Halt in the name of the law! -[funk music playing]
|
¡Alto, en nombre de la ley!
|
|
44:23
|
[Mitchell] The Davis take on Himes' Old Testament avenger Harlem cops
|
Davis muestra a los policías violentos
de Harlem que describe Himes
|
|
44:28
|
was a playful and Afrocentric fable that introduced the concept of high style,
|
como una fábula divertida y afrocéntrica
que introdujo el concepto de elegancia,
|
|
44:33
|
scored by Hair composer Galt MacDermot, to Black action.
|
con música del compositor de Hair,
Galt MacDermot.
|
|
44:37
|
The beautifully dressed detectives,
|
Esos detectives bien vestidos,
|
|
44:38
|
played by the wry Godfrey Cambridge and quick-tempered Raymond St. Jacques,
|
el irónico Godfrey Cambridge
y el irascible Raymond St. Jacques,
|
|
44:43
|
were part of an eager group of Black stage actors Davis put together.
|
eran parte de un elenco de actores negros
elegidos por Davis.
|
|
44:47
|
-What is it? -Look at this.
|
- ¿Qué pasa?
- Mira esto.
|
|
44:50
|
[Fishburne] Oh my God, those blue shirts he was wearing,
|
Dios mío, esas camisas azules,
|
|
44:53
|
that suit he was wearing,
|
ese traje,
|
|
44:54
|
the way he had his mustache manicured, he was clean as a motherfucker, man.
|
su bigote recortado,
el tipo era muy elegante.
|
|
44:59
|
You saw that white joker. Did you identify him?
|
Viste a ese idiota blanco.
¿Lo identificaste?
|
|
45:03
|
I don't know, Lieutenant. Maybe yes, maybe no.
|
No sé, teniente. Tal vez sí, tal vez no.
|
|
45:07
|
All those kinda people look alike to me.
|
Para mí, todos se ven iguales.
|
|
45:09
|
[Mitchell] As a stage actor himself, Davis knew that audiences would respond
|
Como actor de teatro,
Davis sabía que el público reaccionaría
|
|
45:14
|
to the warmth of Black actors basking in their comrades' glory,
|
a la calidez de los actores negros
que disfrutan del éxito de los suyos,
|
|
45:17
|
an aspect he probably wanted movie audiences to experience.
|
un aspecto que quería
que experimentara el público del cine.
|
|
45:22
|
There's a lot of fantasy going on in Cotton Comes to Harlem.
|
La noche es para matar es una fantasía.
|
|
45:28
|
It's a fairy tale.
|
Es un cuento de hadas.
|
|
45:29
|
But what's great is
|
Pero lo genial es
|
|
45:31
|
Ossie Davis uses Harlem
|
que Ossie Davis usa Harlem
|
|
45:34
|
in a way that I don't think we'd ever seen it before.
|
como nunca lo habíamos visto.
|
|
45:37
|
It's totally authentic.
|
Es muy auténtico.
|
|
45:39
|
It is totally itself.
|
El filme es fiel a sí mismo.
|
|
45:41
|
And he's got this fantasy playing out in the midst of the reality of Harlem.
|
Muestra una fantasía
en medio de la realidad de Harlem.
|
|
45:46
|
[Mitchell] Davis took a mantra from Black revolutionaries
|
Davis usó el mantra
de los revolucionarios negros
|
|
45:49
|
and made it a call-and-response song…
|
y lo convirtió en una canción
de voces opuestas.
|
|
45:51
|
-["Black Enough" by Melba Moore playing] -♪ Black enough for me ♪
|
Bastante negro para mí.
|
|
45:56
|
[Mitchell] …of looking forward to the day when Black pride will be celebrated
|
Ansío el día en que el orgullo negro
sea celebrado
|
|
45:59
|
by society at large rather than viewed as a demand for change.
|
por toda la sociedad,
en vez de ser una exigencia de cambio.
|
|
46:03
|
Which it was, by the way, but the song gives it a lilt.
|
Por cierto, así era,
pero esta canción lo alivia.
|
|
46:07
|
♪ Black enough for me ♪
|
Bastante negro para mí.
|
|
46:12
|
It's that one line that repeats itself throughout,
|
Esa frase se repite una y otra vez,
|
|
46:14
|
which is fantastic.
|
lo que es fantástico.
|
|
46:16
|
Am I Black enough for you?!
|
¿Soy bastante negro para ti?
|
|
46:19
|
[Fishburne] Calvin Lockhart and his way of using it when he preaches,
|
Calvin Lockhart la dice cuando predica,
|
|
46:22
|
and then Godfrey Cambridge and his way of using it.
|
y Godfrey Cambridge la usa a su modo.
|
|
46:26
|
Is that Black enough for you?
|
¿Es bastante negro para ti?
|
|
46:28
|
It changes. It morphs. It has several meanings.
|
Cambia, se modifica.
Tiene varios significados.
|
|
46:31
|
Is that Black enough for you?
|
¿Es bastante negro para ti?
|
|
46:33
|
It ain't, but it's gonna be.
|
No, pero lo será.
|
|
46:36
|
That still resonates.
|
Sigue haciendo eco.
|
|
46:39
|
[Mitchell] Though Davis recognized the need to make the composer
|
Si bien Davis entendió que el compositor
era parte de la narrativa,
|
|
46:41
|
part of the storytelling
|
que el compositor
era parte de la narrativa,
|
|
46:43
|
by including MacDermot on Cotton Comes to Harlem,
|
al incluir a MacDermot
en La noche es para matar,
|
|
46:45
|
it took Melvin Van Peebles to make the music communicate
|
Melvin Van Peebles logró
que la música comunicara
|
|
46:48
|
the shocking nature of the Black experience.
|
la angustia
de la experiencia de los negros.
|
|
46:51
|
His 1970 Watermelon Man is a satire
|
La noche que salió el sol, de 1970,
es una sátira
|
|
46:54
|
in which a liberal white man wakes up one day to find out he's Black.
|
en la que un blanco liberal un día
despierta para descubrir que es negro.
|
|
46:59
|
Illustrating the bone-deep horror of being Black for whites,
|
Al mostrar el temor visceral
de los blancos de ser negros,
|
|
47:03
|
Godfrey Cambridge shifts the tone from openly broad and comedic…
|
Godfrey Cambridge cambia el tono
de una comedia ligera…
|
|
47:08
|
Jeff! Jeff! Jeff! There's a Negro in your shower!
|
¡Jeff! ¡Hay un negro en la ducha!
|
|
47:11
|
[Mitchell] …to acting the richly observed and deeper character transformed
|
…a la transformación profunda
y observadora del personaje
|
|
47:16
|
by being soaked in empathy,
|
que se sumerge en empatía,
|
|
47:18
|
an evolution Van Peebles wanted audiences to feel.
|
una evolución que Van Peebles
quiso hacer sentir al público.
|
|
47:21
|
When we got married, I had no idea it was going to be an interracial thing.
|
Cuando nos casamos, no sabía
que seríamos una pareja interracial.
|
|
47:25
|
-You never told me. -Well, I just got wind of it myself.
|
- Nunca me lo dijiste.
- Acabo de enterarme.
|
|
47:29
|
[Mitchell] Van Peebles engulfs a slight and sleight-of-hand plot
|
Van Peebles se mete de lleno
en un argumento inteligente
|
|
47:32
|
by blending sketch-comedy concepts rendered in big glossy movie terms
|
al mezclar la comedia de sketch
en un cine muy bien ejecutado
|
|
47:36
|
to meticulously make a film
|
para lograr una película
|
|
47:38
|
about the power of dawning Black awareness and responsibility.
|
sobre el poder de crear conciencia
sobre la vida de los negros.
|
|
47:41
|
Where do you think you're going?
|
¿Adónde cree que va?
|
|
47:43
|
-I'm lunching with Clark Dunwoody. -Not in here, you're not.
|
- Voy a almorzar con Clark Dunwoody.
- Aquí no.
|
|
47:46
|
[Mitchell] In a pandemic world, Watermelon Man has gained a new timeliness,
|
En un mundo pandémico,
La noche que salió el sol es oportuna,
|
|
47:50
|
as whites now understand the concept of living on borrowed time
|
ya que los blancos entienden
el concepto de vivir de prestado
|
|
47:54
|
the moment you step outside your front door,
|
apenas cruzan la puerta de calle,
|
|
47:56
|
as African Americans always have.
|
como siempre les pasó
a los afroamericanos.
|
|
48:00
|
Like Gordon Parks on The Learning Tree the year before,
|
Como Gordon Parks
en The Learning Tree el año anterior,
|
|
48:03
|
Van Peebles composed music for his studio directing debut.
|
Van Peebles compuso la música
para su debut como director.
|
|
48:06
|
When my father did Watermelon Man, and they were trying to decide
|
Cuando mi padre hizo
La noche que salió el sol, debían decidir
|
|
48:10
|
whether Watermelon Man should come out theatrically,
|
si la película se estrenaría en cines.
|
|
48:13
|
they were having a little screening, and all the bigwigs were comin' in,
|
Hicieron una proyección de prueba,
fueron todos los ejecutivos,
|
|
48:17
|
and they're all white guys,
|
todos eran blancos.
|
|
48:18
|
and there's a guy, a brother named Willy, who would sweep up in the screening room.
|
Había un negro llamado Willy
que barría la sala de proyección.
|
|
48:22
|
And my dad had talked to Willy and gave him a couple of bucks
|
Mi papá habló con Willy,
le dio unos dólares
|
|
48:25
|
and said, "When they screen my movie, you make sure you like it."
|
y le dijo: "Hazles saber
que te gusta mi película".
|
|
48:28
|
So Willy's screening the movie, they screen, uh, Watermelon Man, Willy start…
|
Cuando proyectan la película,
|
|
48:31
|
[chuckling] "Look at that! Oh!"
|
Willy dice: "Miren eso.
|
|
48:34
|
"That sure is fun--"
|
"Es muy cómica…".
|
|
48:36
|
And they were looking at him, "Well, Willy likes it."
|
Todos lo miraron…
"Bueno, a Willy le gusta".
|
|
48:39
|
And Willy, "Oh, boss, that sure is good. Look at that." [chuckles]
|
Willy dijo:
"Es muy buena, jefe. Miren eso".
|
|
48:43
|
"Willy, is this funny to you?"
|
"¿Para ti es graciosa, Willy?".
|
|
48:44
|
"Oh yeah, I can't wait to see this. When is it coming out?"
|
"Sí. Estoy ansioso por verla
cuando se estrene".
|
|
48:47
|
Well, theatrical release. That was their one-man focus group.
|
Y se estrenó en cine.
Ese fue su grupo focal de una persona.
|
|
48:51
|
So my dad just did racial jujitsu and flipped it against them.
|
Mi papá hizo jujitsu racial
y dio vuelta las cosas.
|
|
48:57
|
[Mitchell] Gordon Parks, making a second studio film in 1971,
|
Gordon Parks hizo su segunda película
de estudio en 1971,
|
|
49:02
|
fully incorporated the marriage of music and film,
|
e incorporó la conjunción
de música y película
|
|
49:04
|
a defiant break from the classically influenced European scores of studio fare.
|
que se aparta de las clásicas
partituras europeas de música de cine.
|
|
49:09
|
With this movie, Parks follows up on his plan to include Isaac Hayes.
|
Con esta película, Parks sigue
su plan de incluir a Isaac Hayes.
|
|
49:30
|
Shaft wasn't just a debut. It was an announcement.
|
Shaft no fue solo un debut.
Fue un anuncio.
|
|
49:34
|
In the same way that movies such as Easy Rider screamed,
|
Películas como
Busco mi destino decían a gritos:
|
|
49:37
|
"This is the '60s,"
|
"Son los años 60",
|
|
49:38
|
Shaft laid down a count of funk and urban panache that said
|
Shaft instaló una cuota de funk
y un garbo urbano que decía:
|
|
49:42
|
this was the 1970s.
|
Estos eran los años 70.
|
|
49:44
|
That a private eye didn't have to look like he slept in his clothes
|
Un detective privado
no tenía que verse desalineado
|
|
49:47
|
or hid from view.
|
o esconderse.
|
|
49:49
|
The newness and audacity of a camera following a Black man
|
La novedad y audacia
de una cámara siguiendo a un negro
|
|
49:53
|
in a leather coat through Manhattan.
|
con chaqueta de cuero por todo Manhattan.
|
|
49:55
|
A private eye, dressed like a combination
|
Un detective privado,
vestido como una combinación
|
|
49:58
|
of a revolutionary and director Gordon Parks,
|
de un revolucionario
y el director Gordon Parks,
|
|
50:01
|
as the sizzle of the hi-hat cranked up the audience.
|
mientras el crepitar del hi-hat
emocionaba al público.
|
|
50:04
|
The camera wasn't spying on the star.
|
La cámara no espiaba a la estrella.
|
|
50:07
|
It was staring at him.
|
La miraba de frente.
|
|
50:09
|
This combination forever altered the course of movies,
|
Esta combinación cambió para siempre
el rumbo de las películas
|
|
50:12
|
right down to coming from a studio
|
que venían de un estudio
|
|
50:14
|
that was long known for delivering product about an ideal America
|
conocido de larga data
por producciones sobre un país ideal
|
|
50:18
|
that framed straight hair and blue eyes as the standard of beauty.
|
que mostraba cabello lacio y ojos azules
como estándar de belleza.
|
|
50:22
|
Shaft, "sex machine for all the chicks," ain't nobody said that about a brother.
|
Shaft, "máquina sexual para todas",
nadie hablaba así de un negro.
|
|
50:29
|
You all right?
|
¿Estás bien?
|
|
50:31
|
Baby, are you all right?
|
Cariño, ¿estás bien?
|
|
50:35
|
I got to feeling like a machine.
|
Empecé a sentirme una máquina.
|
|
50:37
|
That's no way to feel.
|
No es bueno sentirse así.
|
|
50:47
|
[Mitchell] In 1971, Van Peebles chose to make a movie
|
En 1971,
Van Peebles eligió hacer una película
|
|
50:51
|
about the unremitting terror Black Americans are subject to,
|
sobre el horror constante
que sufren los afroestadounidenses,
|
|
50:55
|
Sweet Sweetback's Baadasssss Song.
|
Sweet Sweetback's Baadasssss Song.
|
|
50:58
|
The title alone made the movie part of the revolution
|
El título en sí ya insertaba
a la película en una revolución
|
|
51:01
|
that would not be televised.
|
que no sería televisada.
|
|
51:03
|
In those days, networks would never run such a title
|
En esos días,
las cadenas nunca pasarían ese título
|
|
51:07
|
or the incendiary movie that it accompanied.
|
o la película escandalosa
que lo acompañaba.
|
|
51:11
|
-[women chuckling] -What is it?
|
¿Qué pasa?
|
|
51:19
|
[Mitchell] In the days before porn was unavoidable
|
En los días en que el porno era inevitable
|
|
51:22
|
and when Black sexuality was still a punch line,
|
y la sexualidad negra
seguía siento un artilugio,
|
|
51:25
|
Sweetback showed its nerve by turning Black sex into a show
|
Sweetback demostró su audacia
al convertir en show el sexo entre negros
|
|
51:28
|
and refusing to blink or turn away.
|
y mostrarlo en cámara.
|
|
51:31
|
It's a Van Peebles brick-by-brick construction,
|
Es una construcción deliberada
de Van Peebles,
|
|
51:34
|
a device to make the audience understand what it's like to be objectified.
|
para que el público entienda
qué se siente ser cosificado.
|
|
51:42
|
[Mitchell] Making "badass" a part of the title was such a badass move
|
Incluir "jodido" como parte del título
fue una estrategia osada
|
|
51:46
|
that it virtually guaranteed the movie an X rating,
|
que le garantizaba la clasificación X,
|
|
51:49
|
which Sweetback eventually got.
|
tal como finalmente la clasificaron.
|
|
51:51
|
Melvin Van Peebles used the perks of exploitation
|
Melvin Van Peebles aprovechó
las ventajas de la explotación
|
|
51:54
|
and a new liberalism in movie culture to his advantage.
|
y el nuevo liberalismo
en la cultura cinematográfica.
|
|
51:58
|
He loved the sheer effrontery of being a Black man
|
Amaba la audacia de ser un negro
|
|
52:01
|
with facial hair, smoking a cigar.
|
con barba y fumando un cigarro.
|
|
52:04
|
A pop-culture gesture
|
Un gesto de la cultura popular,
|
|
52:06
|
as eternal as Elvis Presley's smirk and Megan Thee Stallion's fingernails.
|
tan eterno con la sonrisa de Elvis Presley
y las uñas de Megan Thee Stallion.
|
|
52:10
|
Sweetback came at a time when the X rating was just invented,
|
Sweetback se lanzó
cuando se inventó la clasificación X,
|
|
52:14
|
and porn moved from sleazy downtown theaters
|
y el porno pasaba
de los cines sórdidos del centro
|
|
52:17
|
to the suburbs.
|
a los suburbios.
|
|
52:18
|
Midnight Cowboy became the first X-rated film
|
Perdidos en la noche fue
la primera película de clasificación X
|
|
52:21
|
to win the Best Picture Oscar.
|
en ganar el Óscar a mejor película.
|
|
52:23
|
The only one.
|
La única.
|
|
52:24
|
Stanley Kubrick made Clockwork Orange and got an X.
|
Stanley Kubrick hizo La naranja mecánica,
y la clasificaron X.
|
|
52:28
|
And Marlon Brando and director Bernardo Bertolucci
|
Y Marlon Brando
y el director Bernardo Bertolucci
|
|
52:32
|
would be nominated for Oscars for the X-rated Last Tango in Paris.
|
serían nominados al Óscar
por El último tango en París.
|
|
52:36
|
And there was the Black attempt at X-rated social commentary, Lialeh,
|
Hubo un intento negro
de crítica social clasificación X, Lialeh,
|
|
52:41
|
with a score by funk legend Bernard Purdie.
|
con música de Bernard Purdie,
leyenda del funk.
|
|
52:44
|
Even if the Motion Picture Association offered me a G for the film,
|
Aunque la Motion Picture Association
me ofreciera la clasificación G,
|
|
52:48
|
I don't give them the right to, uh… to decide G or X, uh, for the Black destiny.
|
yo no les doy el derecho de decidir
si es G o X para el destino de los negros.
|
|
52:56
|
[Mitchell] But Van Peebles inadvertently opened a floodgate by hijacking the X-rating.
|
Pero Van Peebles sin querer abrió
una puerta al sabotear la clasificación X.
|
|
53:00
|
It's rumored he self-applied the X-rating
|
Se rumorea que se autoadjudicó
la clasificación X
|
|
53:03
|
because it was the only symbol not copyrighted by the ratings board,
|
por ser el único símbolo
sin derechos de autor,
|
|
53:06
|
which let everyone know the X was theirs for the taking,
|
es decir,
cualquiera podía apropiarse de la X,
|
|
53:10
|
and the brave new world of the double X and triple X was born.
|
y así nació el nuevo mundo
de la doble X y triple X.
|
|
53:14
|
After all, you've never heard of a double R or a triple PG-13.
|
Nunca oyeron hablar
de una película doble R o triple PG-13.
|
|
53:19
|
As with Watermelon Man, Sweetback opens with running
|
Al igual que La noche que salió el sol,
Sweetback empieza corriendo,
|
|
53:23
|
but not for comic effect in this case.
|
pero no para hacer reír.
|
|
53:25
|
Sweetback is on the run for his life. Movement is what seems to keep him alive,
|
Sweetback corre por su vida.
El movimiento lo mantiene vivo,
|
|
53:30
|
as much of the film is about forward motion.
|
la película trata del avance.
|
|
53:34
|
Van Peebles chose musicians not just to supply music.
|
Van Peebles eligió músicos
que no solo tocaran.
|
|
53:38
|
He made Earth, Wind & Fire his coconspirators.
|
Sus conspiradores fueron
Earth, Wind & Fire.
|
|
53:41
|
He had a secretary who I had a crush on. I think everyone had a crush on Priscilla, his secretary.
|
Tenía una secretaria que me gustaba.
A todos les gustaba Priscilla.
|
|
53:46
|
She had a Afro like a halo, baby. I'd be like, "God, look at Priscilla."
|
Tenía un halo afro.
Pensaba: "Dios mío, miren a Priscilla.
|
|
53:49
|
"Just-- What's she wearing--"
|
¿Qué ropa se puso?
|
|
53:51
|
"What's the Priscilla outfit du jour gonna be?"
|
¿Qué se pondrá hoy?".
|
|
53:53
|
But Priscilla had a boyfriend who was a little, you know, possessive.
|
Priscilla tenía un novio
que era un poco posesivo.
|
|
53:57
|
She wanted to act in the movie, but her boyfriend said, "You can't act in the movie."
|
Quería actuar en la película,
pero su novio no la dejó.
|
|
54:00
|
But he happened to have a new band called Earth, Wind & Fire.
|
Resulta que él tenía una banda nueva,
Earth, Wind & Fire.
|
|
54:04
|
So he said, "You can't act with Melvin. However, I wanna do the music."
|
Dijo: "No actuarás con Melvin.
Pero yo quiero hacer la música".
|
|
54:10
|
[Mitchell] And their contribution added to the sweaty paranoia of Sweetback.
|
Y su aporte exacerbó
la paranoia agitada de Sweetback.
|
|
54:16
|
Unlike the sweet and muscular R&B
|
A diferencia del R&B melódico y poderoso,
|
|
54:18
|
we'd later instantly recognize as Earth, Wind & Fire,
|
que más tarde reconoceríamos
como Earth, Wind & Fire,
|
|
54:22
|
their Sweetback score is discordant, ribbons of screeching avant-garde jazz
|
la música de Sweetback es discordante,
con jazz vanguardista chirriante
|
|
54:26
|
with a pounding layer of percussion underneath.
|
y una capa inferior de percusión potente.
|
|
54:29
|
The music exists to make us aware
|
La música existe para entender
|
|
54:31
|
we're being plunged into a world the movies shied away from.
|
que nos sumergimos en un mundo
que las películas evaden.
|
|
54:36
|
It combined genres swiftly,
|
Combina los géneros con rapidez,
|
|
54:37
|
with reflexes as keen as those of director Van Peebles.
|
con reflejos tan rápidos
como los del director Van Peebles.
|
|
54:41
|
♪ Run, Sweetback! ♪
|
¡Corre, Sweetback!
|
|
54:44
|
-♪ Run, motherfucker! ♪ -[gospel beat playing]
|
¡Corre, hijo de puta!
|
|
54:47
|
♪ They bled your sister! But they won't bleed me! ♪
|
¡Mataron a tu hermana!
Pero no me matarán a mí.
|
|
54:51
|
♪ Run, Sweetback! ♪
|
¡Corre, Sweetback!
|
|
54:53
|
♪ Run, motherfucker! ♪
|
¡Corre, hijo de puta!
|
|
54:55
|
♪ They bled your mama! ♪
|
Mataron a tu mamá.
|
|
54:57
|
♪ They bled your papa But they won't bleed me! ♪
|
Mataron a tu papá.
Pero no me matarán a mí.
|
|
55:03
|
My dad would actually have me talk to people in the lobby.
|
Mi papá me hizo hablar
con la gente del vestíbulo.
|
|
55:06
|
He'd say, "What d'you think?" And I'd tell him. He'd say,
|
Me preguntó qué opinaba,
y se lo dije. Y él dijo:
|
|
55:09
|
"I'm not interested in what you think. I wanna find out later."
|
"No me interesa tu opinión.
Ya me la dirás.
|
|
55:11
|
"Go talk to those folks in the lobby and get an idea of how they saw the movie,
|
Habla con la gente del vestíbulo
para saber cómo vieron la película,
|
|
55:16
|
how they heard about the movie, and what did they think of the film."
|
cómo se enteraron y cuál es su opinión".
|
|
55:20
|
[Mitchell] It took an auteur and showman and salesman, such as Melvin,
|
Solo un autor,
artista y vendedor como Melvin
|
|
55:23
|
to understand that by making the composer a creative partner on the project,
|
podía entender que al sumar al compositor
como parte creativa del proyecto
|
|
55:28
|
rather than just an employee,
|
más que como un empleado,
|
|
55:29
|
the director was investing in the movie's future.
|
el director invertía
n el futuro de la película.
|
|
55:32
|
Melvin saw that future in a way that would eventually start
|
Melvin vio ese futuro
de un modo que daría comienzo
|
|
55:35
|
a new direction in the movie business.
|
a un nuevo rumbo en el cine.
|
|
55:37
|
First, he made the story of the selling of the movie, its marketing.
|
Primero, usó la historia
para promocionar y vender la película.
|
|
55:42
|
Otherwise, he'd have a Black movie that would get little or no attention.
|
Si no, tendría una película de negros
que no llamaría la atención.
|
|
55:46
|
More importantly, he had the soundtrack released first,
|
Y lo más importante,
lanzó primero la banda de sonido,
|
|
55:49
|
counting on enhanced visibility as a sales tool.
|
y usó esa mayor visibilidad
como herramienta de ventas.
|
|
55:53
|
He was an artist-entrepreneur.
|
Era un artista emprendedor.
|
|
55:55
|
It didn't matter if it was art if no one saw it.
|
El arte no importaba
si nadie veía la película.
|
|
55:59
|
Gordon Parks changed who the Black movie protagonist could be.
|
Gordon Parks cambió la esencia
del protagonista negro.
|
|
56:03
|
Sweetback and Shaft followed Muhammad Ali
|
Sweetback y Shaft
le siguieron a Muhammand Ali,
|
|
56:06
|
into an era of Black figures no longer asking for permission to be.
|
en una época de figuras negras
que ya no pedían permiso para existir.
|
|
56:11
|
Their scenes were staged to present them as assertive
|
Sus escenas los mostraban seguros
|
|
56:14
|
rather than inviting,
|
en vez de atractivos,
|
|
56:16
|
a chill attitude breaking with lowered-head likability.
|
una actitud relajada
donde ya no agachaban la cabeza.
|
|
56:20
|
A flinty and ironic distance that forced the viewer to understand
|
Una distancia irónica
que obligaba al espectador a entender
|
|
56:23
|
rather than have all explained.
|
en vez de que todo se explique.
|
|
56:27
|
Listen to what I'm telling you, man. I'm here to help you.
|
Escucha lo que te digo. Vine a ayudarte.
|
|
56:31
|
I am an angel of God.
|
Soy un ángel de Dios.
|
|
56:33
|
[Mitchell] Harry Belafonte brought his silken intensity
|
Harry Belafonte llevó su intensidad sedosa
|
|
56:36
|
back to the big screen for The Angel Levine,
|
de vuelta a la gran pantalla
para El ángel Levine,
|
|
56:39
|
an experimental drama he produced.
|
un drama experimental
que él mismo produjo.
|
|
56:41
|
Ending his self-imposed exile in this existential comedy
|
Puso fin a su exilio autoimpuesto
en esta comedia existencial
|
|
56:44
|
that added a twist to the dilemma posed by Ralph Ellison
|
que le agregó un giro
al dilema que plantea Ralph Ellison
|
|
56:47
|
in his novel Invisible Man.
|
en su novela El hombre invisible.
|
|
56:50
|
"What did I do to be so Black, blue, and heaven-sent?"
|
"¿Qué hice para ser tan negro,
triste y afortunado?".
|
|
56:54
|
I am an angel.
|
Soy un ángel.
|
|
56:58
|
Have you come to take me away?
|
¿Viniste a llevarme?
|
|
57:01
|
No.
|
No.
|
|
57:03
|
I've come to give you life.
|
Vine a darle vida.
|
|
57:05
|
[Mitchell] As a more divine and New Testament parallel,
|
Como paralelismo más divino
y del Nuevo Testamento,
|
|
57:08
|
Sidney Poitier starred as Brother John.
|
Sidney Poitier protagonizó
El enigmático John.
|
|
57:11
|
In this fantasy, Poitier is a modest stranger
|
En esta fantasía,
Poitier era un extraño modesto
|
|
57:14
|
dropped into a conflict zone, withholding approval and judgment
|
con un conflicto,
que no expresaba aprobación o juicio,
|
|
57:18
|
as a taciturn angel of death torn between the past and the present.
|
un ángel de la muerte taciturno
atrapado entre el pasado y el presente.
|
|
57:22
|
This well-meaning fable serves to reflect Poitier's own plight.
|
Esta fábula bien intencionada
refleja el dilema de Poitier.
|
|
57:28
|
Ossie Davis followed up Cotton Comes to Harlem
|
Ossie Davis sucedió
a La noche es para matar.
|
|
57:30
|
with a drama that focused on the tensions of generations of Black women
|
con un drama sobre las tensiones
de generaciones de mujeres negras
|
|
57:35
|
in a single household.
|
en un solo hogar.
|
|
57:36
|
Dear Lord, if you help me get this house for my mother,
|
Dios, si me ayudas
a irme de la casa de mi madre,
|
|
57:39
|
I'll never ask you for anything else, amen.
|
nunca más te pediré nada. Amén.
|
|
57:42
|
[Mitchell] His young woman protagonist fighting to be heard and for her future,
|
Su joven protagonista lucha
por alzar su voz y por su futuro,
|
|
57:46
|
a subject much closer to landlocked reality
|
y tema mucho más cercano
a la incuestionable realidad
|
|
57:49
|
than his previous film.
|
que sus filmes anteriores.
|
|
57:51
|
Writer-director Ousmane Sembène once said that,
|
El guionista y director Ousmane Sembène
una vez dijo:
|
|
57:54
|
"Between the on-screen families in Sounder and Black Girl,
|
"Entre las familias cinematográficas
de Sounder y Black Girl,
|
|
57:58
|
there was a complete universe."
|
hay todo un universo.
|
|
58:00
|
"That's the kind of film I'd like to make."
|
Esa es la película que me gustaría hacer".
|
|
58:03
|
And the film universe he saw inspired him to spend much of his career
|
Y el universo del cine que él vio
lo inspiró a dedicar su carrera
|
|
58:07
|
dramatizing the impact on households of absent Black masculinity.
|
a dramatizar el impacto de la ausencia
de masculinidad negra en los hogares.
|
|
58:12
|
Now, there's a line of reasoning that contends
|
Hay una línea de razonamiento que afirma
|
|
58:15
|
that 1939 was the best year in movie history.
|
que 1939 fue el mejor año
en la historia del cine.
|
|
58:19
|
But it is axiomatic that 1939 affirmed America's movie stature
|
Pero es un axioma que 1939 afirmó
el estatus de Estados Unidos…
|
|
58:24
|
as mythmaker for the world.
|
…como el mejor cine del mundo.
|
|
58:26
|
No period that includes Gone with the Wind will ever have that kind of appeal to me.
|
Nunca consideraría así a la época
de Lo que el viento se llevó.
|
|
58:30
|
The men who ran the studios created a pop culture mythology
|
Los ejecutivos de los estudios
crearon una mitología popular
|
|
58:34
|
that gave them the chance to run as far as they could from their origins.
|
que les permitieron huir
lo máximo posible de sus orígenes.
|
|
58:38
|
And they could will a hubristic version of America into being,
|
Y produjeron una versión orgullosa
de Estados Unidos…
|
|
58:43
|
an America that never existed
|
que nunca existió,
|
|
58:45
|
but much of this country believes still did.
|
pero que gran parte de este país
cree que sí.
|
|
58:48
|
Probably most of the world still does.
|
Tal vez casi todo el mundo aún lo crea.
|
|
58:50
|
1939 let the studios churn out
|
En 1939, los estudios escupían…
|
|
58:53
|
what they considered to be moral and literary
|
…lo que consideraban moral y literario
|
|
58:56
|
and catered to mainstream audiences with whitewashed myths.
|
y le dieron al público en general
mitos edulcorados.
|
|
59:00
|
I know, Huck. I'm her slave.
|
Lo sé, Huck. Soy su esclavo.
|
|
59:02
|
But sometimes, I can't help wondering if it's right.
|
Pero, a veces,
no puedo evitar pensar si es justo.
|
|
59:05
|
[Mitchell] It's a step past appropriation to cultural colonialism.
|
Supera a la apropiación cultural
y al colonialismo.
|
|
59:10
|
White actors can do a much better job with your culture, Latinx actors,
|
Los blancos entienden mejor
tu cultura, a los actores latinos…
|
|
59:15
|
Pacific Islanders…
|
…a los isleños del Pacífico…
|
|
59:17
|
-[applause] -Miss Dorothy March,
|
La Srta. Dorothy March…
|
|
59:19
|
in her impersonation of Bill Robinson,
|
…con su caracterización de Bill Robinson,
|
|
59:21
|
the King of Harlem.
|
el rey de Harlem.
|
|
59:23
|
[Mitchell] …Black people.
|
…a los negros.
|
|
59:25
|
A body blow meant as a compliment.
|
Un golpe certero en forma de cumplido.
|
|
59:31
|
Most importantly, there was a handoff in 1939
|
Y lo más importante,
en 1939 se dio vía libre
|
|
59:34
|
that cemented the power of a central and debilitating myth
|
al afianzamiento
de un mito central y debilitante
|
|
59:37
|
about the place of Blacks in society.
|
sobre el lugar de los negros
en la sociedad.
|
|
59:40
|
Quittin' time!
|
¡Descanso!
|
|
59:41
|
-Who says it's quittin' time? -I said it's quittin' time.
|
- ¿Quién lo dice?
- Yo lo digo.
|
|
59:44
|
I's the foreman. I's the one says when it's quittin' time at Tara.
|
Soy el capataz.
Yo digo si descansamos en Tara.
|
|
59:47
|
-Quittin' time! Quittin' time! -[gentle, dreamy music playing]
|
¡Descanso!
|
|
59:52
|
[Mitchell] They were both adaptations of books.
|
LO QUE EL VIENTO SE LLEVÓ
|
|
59:54
|
The number-one grossing film of all time until 1925
|
El filme más taquillero
de la historia hasta 1925,
|
|
59:58
|
was D.W. Griffith's The Birth of a Nation.
|
fue El nacimiento de una nación,
de D.W. Griffith.
|
|
1:00:01
|
An even bigger hit was 1939's Gone with the Wind,
|
Lo superó Lo que el viento se llevó,
de 1939,
|
|
1:00:04
|
which remained the biggest box-office sensation until 1965
|
que fue el mayor éxito de taquilla
hasta 1965
|
|
1:00:09
|
and became champ again in 1971.
|
y volvió a serlo en 1971.
|
|
1:00:12
|
1972 should have been the year for Rupert Crosse's career to flower.
|
En 1972,
la carrera de Rupert Crosse floreció.
|
|
1:00:16
|
His fans Jack Nicholson, Robert Towne, and director Hal Ashby
|
Sus fans Jack Nicholson,
Robert Towne y el director Hal Ashby
|
|
1:00:20
|
created a role for Crosse in the adaptation of The Last Detail.
|
crearon un papel para Crosse
en la adaptación de El último deber.
|
|
1:00:24
|
But Crosse was diagnosed with leukemia before shooting began.
|
Pero a Crosse le diagnosticaron leucemia
antes del rodaje.
|
|
1:00:28
|
Filming was delayed in hopes he'd be able to participate,
|
La filmación se demoró
con la esperanza de que participara,
|
|
1:00:31
|
but Crosse died before filming started.
|
pero Cross murió
antes de que empezaran a filmar.
|
|
1:00:35
|
In an Esquire magazine article,
|
En un artículo de la revista Esquire,
|
|
1:00:37
|
Ashby reflected on Crosse's humor and grace in the face of mortality.
|
Ashby reflexionó sobre el humor
y la gracia de Crosse de cara a la muerte.
|
|
1:00:42
|
The phrase "corrosive lyricism" was coined
|
La frase "lirismo corrosivo" fue acuñada
|
|
1:00:44
|
to summarize Ashby's style and inspired by Crosse's outlook.
|
para resumir el estilo de Ashby
e inspirada por la mirada de Crosse.
|
|
1:01:01
|
Isaac Hayes used his performance at the 1972 Oscars,
|
Isaac Hayes usó su actuación
en los premios Óscar de 1972
|
|
1:01:05
|
when he became the first Black Best Song winner,
|
cuando se convirtió en el primer negro
ganador de mejor canción
|
|
1:01:09
|
to show his Hot Buttered Soul grandeur to the entire planet.
|
para mostrar al mundo la grandiosidad
de su Hot Buttered Soul.
|
|
1:01:12
|
For me, watching at home, and thrilled
|
Yo lo vi emocionado desde casa,
|
|
1:01:15
|
by watching Hayes turn slave chains into superstar chain mail,
|
vi a Hayes convertir las cadenas
de los esclavos en una cota de malla,
|
|
1:01:19
|
it felt like a comet crashing into the Earth,
|
parecía un cometa
chocando contra la Tierra,
|
|
1:01:22
|
an alteration of the atmosphere,
|
una alteración de la atmósfera,
|
|
1:01:24
|
letting us know things would never be the same.
|
que nos mostraba que ya nada sería igual.
|
|
1:01:29
|
It was a dizzying, thrilling mix
|
Fue una mezcla de emoción y mareo,
|
|
1:01:31
|
that introduced an element that made Black film culture more attractive
|
que introdujo un elemento que volvió
más atractivo al cine de los negros
|
|
1:01:35
|
than films from the so-called mainstream.
|
que las supuestas películas comerciales.
|
|
1:01:38
|
That element was heroism.
|
Ese elemento era el heroísmo.
|
|
1:01:40
|
Now, cockroach, let's run that shit down from the top again.
|
Ahora, cucaracha,
otra vez desde el comienzo.
|
|
1:01:44
|
[Mitchell] Unlike their white counterparts,
|
A diferencia de los blancos,
|
|
1:01:46
|
who wore their misery like runway accessories,
|
que usaban su desdicha como un accesorio,
|
|
1:01:48
|
Black actors played these antiheroes with a confidence that bordered on heroism
|
los actores negros interpretaban
antihéroes con una seguridad casi heroica
|
|
1:01:52
|
and then crossed that border.
|
y traspasaban ese límite.
|
|
1:01:54
|
You gonna drop back in. Yeah.
|
Vas a volver.
|
|
1:01:56
|
'Cause you didn't do nothin' but talk that brotherhood love and peace.
|
No hiciste nada,
solo hablaste de hermandad, amor y paz.
|
|
1:02:00
|
You didn't change nothin', which means work
|
No cambiaste nada,
para eso hay que trabajar
|
|
1:02:02
|
and making that talk, talk, talk happen. But we can't drop into nothin'
|
y hacer que las cosas pasen.
No podemos volver a nada
|
|
1:02:06
|
'cause we never had nothin' to drop out of.
|
porque nunca fuimos parte de eso.
|
|
1:02:08
|
[Mitchell] In the wake of Shaft, there were bronze remakes of films noir.
|
En vísperas de Shaft,
hubo remakes de películas del film noir.
|
|
1:02:13
|
Hit Man, a new take on Get Carter.
|
Hit Man se inspiró
en Carter, asesino implacable.
|
|
1:02:15
|
You are a real superstar, baby.
|
Eres una superestrella, nena.
|
|
1:02:18
|
[Mitchell] And Cool Breeze, yet another remake of The Asphalt Jungle
|
Y Cool Breeze fue una remake
de Mientras la ciudad duerme…
|
|
1:02:21
|
that made that term more literal
|
…una visión más literal
|
|
1:02:23
|
than the nouvelle vague could ever have dreamed possible.
|
que la nouvelle vague hubiera imaginado.
|
|
1:02:27
|
In these films, protagonists stepped into the frame
|
En esas películas,
los protagonistas se adueñaban del plano
|
|
1:02:30
|
with a swagger that'd never been allowed in films above the lower depths.
|
con una seguridad que nunca se permitió
en filmes de gente de clase baja.
|
|
1:02:36
|
I hate to say this,
|
Odio decirlo,
|
|
1:02:38
|
but I am such a pretty motherfucker.
|
pero soy un desgraciado hermoso.
|
|
1:02:45
|
Yeah!
|
¡Sí!
|
|
1:02:46
|
[Mitchell] This peak year in Black film moved so many boundaries
|
Este auge del cine de negros
traspasó tantos límites…
|
|
1:02:49
|
that movies were changed forever.
|
…que el cine cambió para siempre.
|
|
1:02:52
|
For the first time, two Black women were nominated for Best Actress.
|
Por primera vez, dos mujeres negras
fueron nominadas a mejor actriz.
|
|
1:02:55
|
Diana Ross for her first leading role
|
Diana Ross por su primer protagónico
|
|
1:02:58
|
and the divine Cicely Tyson for Sounder…
|
y la divina Cicely Tyson por Sounder…
|
|
1:03:01
|
Cropping season is a long way off, Mr. Perkins.
|
Falta mucho para la cosecha, Sr. Perkin.
|
|
1:03:04
|
By that time, Nathan ought to be home.
|
Para ese entonces, Nathan estará en casa.
|
|
1:03:07
|
If he ain't, believe me, the children and me will do the croppin'.
|
Si no, los niños y yo cosecharemos.
|
|
1:03:10
|
I never got the… the chance to meet Miss Cicely Tyson.
|
No conocí a la Srta. Cicely Tyson.
|
|
1:03:14
|
She always reminded me of my grandmother.
|
Siempre me recordó a mi abuela.
|
|
1:03:16
|
She just kind of personified this… this elegance and this regal air of--
|
Personificaba la elegancia,
ese aire de realeza…
|
|
1:03:22
|
Just the way she moved and spoke.
|
El modo en que se movía y hablaba.
|
|
1:03:25
|
No.
|
No.
|
|
1:03:26
|
I'm fixin' to bake a cake for David Lee to take to your daddy this time.
|
Voy a hornear un pastel
para que David Lee se lo lleve a papá.
|
|
1:03:30
|
Good to see Cicely. 'Cause I grew up watching Cicely Tyson.
|
Fue bueno ver a Cicely.
Crecí viendo a Cicely Tyson.
|
|
1:03:34
|
It was good to see us.
|
Fue bueno vernos.
|
|
1:03:37
|
These movies were about us.
|
Esas películas eran sobre nosotros.
|
|
1:03:41
|
Son, don't get too used to this place,
|
Hijo, no te acostumbres a este lugar,
|
|
1:03:44
|
'cause wherever you is, I'm gonna love you.
|
porque dondequiera que estés,
voy a quererte.
|
|
1:03:47
|
[Mitchell] …which also got a Best Actor nomination for her costar, Paul Winfield.
|
…cuyo coprotagonista, Paul Winfield,
fue nominado a mejor actor.
|
|
1:03:51
|
I didn't find myself, as a child, attracted to movies where we were victims,
|
De niño, no me atraían las películas
donde éramos víctimas,
|
|
1:03:57
|
where we were powerless. I didn't want that as a kid.
|
dónde éramos indefensos.
No quería ver eso de niño.
|
|
1:04:00
|
I saw Sounder again recently, and I appreciate it much more as an adult.
|
Hace poco volví a ver Sounder
y la aprecio mucho más de adulto.
|
|
1:04:04
|
I saw layers in it that I just didn't see as a kid.
|
Vi matices que no vi de niño.
|
|
1:04:08
|
[Mitchell] And Diana Ross was nominated for Best Actress
|
Diana Ross fue nominada como mejor actriz
|
|
1:04:11
|
for her first leading role, in the first film about Billie Holiday,
|
por su primer protagónico
en el primer filme sobre Billie Holiday,
|
|
1:04:15
|
the Motown-produced Lady Sings the Blues.
|
El ocaso de una estrella,
producida por Motown.
|
|
1:04:26
|
It wasn't a movie, as so many are, about being Black.
|
La película no hablaba
sobre ser negro, como mucha otras.
|
|
1:04:32
|
It was about being talented.
|
Era sobre el talento.
|
|
1:04:34
|
It was Bob Mackie costumes… [chuckles] …and Diana Ross's glamour
|
El vestuario de Bob Mackie,
el glamur de Diana Ross,
|
|
1:04:38
|
and Billy Dee Williams, well, hell, you know. [chuckles]
|
Billy Dee Williams, es impresionante.
|
|
1:04:46
|
[De Passe] Frank Yablans was running Paramount.
|
Frank Yablans estaba
al frente de Paramount.
|
|
1:04:48
|
He told Berry Gordy, after seeing a rough cut of the film,
|
Después de ver la versión preliminar,
le dijo a Berry Gordy
|
|
1:04:52
|
that they weren't gonna put any more money in it.
|
que no pondrían ni un centavo más.
|
|
1:04:54
|
And Berry Gordy said to Frank,
|
Y Berry Gordy le dijo a Frank:
|
|
1:04:57
|
"We're not finished. We've got so much more to do."
|
"No terminamos.
Nos queda mucho por hacer".
|
|
1:05:00
|
And Frank said…
|
Y Frank dijo…
|
|
1:05:01
|
I won't go into the story… [chuckling] …of what Frank really said,
|
No contaré lo que Frank dijo,
|
|
1:05:05
|
but he basically said it's like you've got the clap, and now you wanna give it to me.
|
pero fue algo como "tienes gonorrea
y quieres contagiarme".
|
|
1:05:09
|
Because we've never spent more than this amount of money
|
Nunca se había gastado tanto
|
|
1:05:12
|
on a quote-unquote Black film before.
|
en una película de negros.
|
|
1:05:14
|
And he said, "Well, Frank, what can I do?"
|
Él dijo: "¿Qué puedo hacer, Frank?".
|
|
1:05:16
|
He said, "Write me a check for $2 million, and you can do anything you wanna do."
|
Y le respondió: "Hazme un cheque
por $2 millones y harás lo que quieras".
|
|
1:05:21
|
And he did.
|
Y lo hizo.
|
|
1:05:23
|
[Mitchell] Lady Sings the Blues was an early, all-out glam show,
|
El ocaso de una estrella fue
mostró el glamur al máximo,
|
|
1:05:26
|
a gleaming establishment of Black glamour in the movies.
|
y marcó el glamur negro en el cine.
|
|
1:05:30
|
When I think of Diana Ross, I also think of fashion
|
Cuando pienso en Diana Ross,
pienso en moda
|
|
1:05:33
|
and how many references I've used of her
|
y en todas las referencias a ella
|
|
1:05:36
|
for red carpet events or for photo shoots
|
para la alfombra roja o sesiones de fotos,
|
|
1:05:38
|
or for these different characters that I guess I build.
|
o los distintos personajes
que voy creando.
|
|
1:05:42
|
The fingers and the hair and the whole thing
|
Los dedos, el cabello, todo.
|
|
1:05:46
|
is just like, "Oh my God!"
|
Piensas: "Dios mío".
|
|
1:05:48
|
And then she can act.
|
Y es muy buena actriz.
|
|
1:05:51
|
[Mitchell] Not just for Ross but her costar,
|
No solo Ross, sino su coprotagonista,
|
|
1:05:54
|
a literal embodiment of tall, dark, and handsome,
|
que encarna al hombre moreno,
alto y apuesto,
|
|
1:05:58
|
Billy Dee Williams.
|
Billy Dee Williams.
|
|
1:06:01
|
When Billy Dee Williams came on, every woman in Hollywood just hollered…
|
Cuando apareció Billy Dee Williams, todas las mujeres de Hollywood gritamos…
|
|
1:06:07
|
And I'm… I'm saying, "Oh my God!"
|
Dijimos: "Dios mío.
|
|
1:06:09
|
"What… what the…" [laughing] "What's goin' on?!"
|
¿Qué está pasando?".
|
|
1:06:16
|
First of all, when I walked down those stairs, I fell in love with myself.
|
Cuando bajé por esas escaleras,
me enamoré de mí mismo.
|
|
1:06:21
|
I said, "My goodness gracious!"
|
Dije: "Dios santo".
|
|
1:06:24
|
I mean, I was smitten.
|
Estaba deslumbrado.
|
|
1:06:27
|
[man] Do you want my arm to fall off?
|
¿Quieres que se me caiga el brazo?
|
|
1:06:30
|
[Williams] Even that scene, you know, "Do you want my arm to fall off?"
|
Incluso en la escena
de "¿Quieres que se e caiga el brazo?",
|
|
1:06:33
|
I mean, couldn't contain myself.
|
no podía contener
|
|
1:06:35
|
I kept laughing because I was getting special lighting.
|
No paraba de reír, tenía luces especiales.
|
|
1:06:38
|
You know, it was like the old movie days.
|
Era como en el cine de antes.
|
|
1:06:43
|
I was in hysterics.
|
Estaba muerto de risa
|
|
1:06:45
|
I had to contain myself. [laughing]
|
Tuve que contenerme.
|
|
1:06:48
|
Oh, it was… it was very funny for me because it was like something
|
Siempre fue gracioso para mí,
porque era algo
|
|
1:06:52
|
that never happened to me before,
|
que nunca me había pasado
|
|
1:06:54
|
you know, in all of the experiences I had doing cinema.
|
en todos mis trabajos en cine.
|
|
1:06:59
|
[Mitchell] '72 was a breakthrough year for Black talent.
|
1972 fue un año bisagra
para el talento negro.
|
|
1:07:02
|
Playwright Lonne Elder III was nominated for the Sounder screenplay,
|
El dramaturgo Lonne Elder III
fue nominado por el guion de Sounder,
|
|
1:07:06
|
and more importantly, it was the year
|
y lo más importante, fue el año
|
|
1:07:08
|
that the first Black woman was nominated for screenwriting,
|
en que la primera mujer negra
fue nominada como guionista,
|
|
1:07:11
|
Suzanne De Passe, part of the script team for Lady Sings the Blues.
|
Suzanne de Passe, del equipo
de El ocaso de una estrella.
|
|
1:07:15
|
It was a singular achievement until Dee Rees was nominated in 2017
|
Fue un logro notable
hasta que Dee Rees fue nominada en 2017
|
|
1:07:20
|
for her script for Mudbound, which makes her
|
por su guion de Mudbound, por lo que es
|
|
1:07:22
|
only the second Black woman to be nominated for screenwriting.
|
en la segunda mujer negra
nominada como guionista.
|
|
1:07:26
|
[De Passe] Mr. Gordy handed me the script. And he said,
|
El Sr Gordy me dio el guion. Y dijo:
|
|
1:07:30
|
"Read this and tell me what you think."
|
"Léelo y dime qué opinas".
|
|
1:07:33
|
And I was, like, horrified
|
Y quedé horrorizada
|
|
1:07:35
|
because I felt it was very stereotypical.
|
porque era muy estereotípico.
|
|
1:07:39
|
The perception of… who we are
|
La percepción de quiénes somos
|
|
1:07:42
|
as opposed to who we are and can be.
|
en oposición a quiénes somos
y quiénes podemos ser.
|
|
1:07:46
|
And so I began working with Sidney Furie. Then Chris Clark was added.
|
Empecé a trabajar con Sidney Furie,
y luego se sumó Chris Clark.
|
|
1:07:50
|
She was an artist on the label, really bright woman.
|
Era artista de la firma,
una mujer muy inteligente.
|
|
1:07:53
|
She and I became a team.
|
Las dos formamos un equipo.
|
|
1:07:54
|
[Mitchell] The seeds are planted here
|
Ahí se plantó la semilla
|
|
1:07:56
|
for what becomes the most important story of the era.
|
de lo que sería
la historia más importante de una época.
|
|
1:07:59
|
It's the contribution by women that becomes dominant.
|
El aporte de las mujeres
que se vuelven dominantes.
|
|
1:08:04
|
In addition to the accolades, the class of '72 was also action-packed.
|
Además de los galardones,
el cine de 1972 era pura acción.
|
|
1:08:11
|
The Western, Buck and the Preacher, directed by Sidney Poitier
|
El western Odio en las praderas,
dirigido por Sidney Poitier
|
|
1:08:16
|
and also starring him and Harry Belafonte.
|
y protagonizado por él y Harry Belafonte.
|
|
1:08:20
|
Belafonte had hopes for the film that were never fulfilled.
|
Belafonte tuvo esperanzas
que nunca se cumplieron.
|
|
1:08:23
|
[Belafonte] The big blow was to find that the Black community didn't support it.
|
Fue una decepción ver
que la comunidad negra no la apoyó.
|
|
1:08:27
|
That sent me into a place where I felt betrayed.
|
Me pusieron en un lugar
donde me sentí traicionado.
|
|
1:08:32
|
I felt like, "Why didn't the Black community support this film
|
"¿Por qué la comunidad negra
no apoyó la película
|
|
1:08:36
|
the way the whites would've supported Butch Cassidy and the Sundance Kid?"
|
como los blancos apoyaron Butch Cassidy?
|
|
1:08:41
|
"This is our version of the same thing." But they didn't.
|
Es nuestra versión". Pero no lo hicieron.
|
|
1:08:44
|
And, uh, then I knew I had several adversaries,
|
Ahí supe que tenía varios adversarios,
|
|
1:08:48
|
Black perception of itself
|
la percepción de los negros de sí mismos
|
|
1:08:50
|
and Black perception as the world saw us.
|
y cómo nos veía el mundo.
|
|
1:08:55
|
[Mitchell] Fred Williamson starred in the revenge-slave Western
|
Fred Williamson protagonizó
el western de venganza de esclavos…
|
|
1:08:58
|
The Legend of Nigger Charley,
|
…La leyenda de Nigger Charley,
|
|
1:09:00
|
a title that was cheeky and outrageous even then.
|
un título osado y escandaloso,
incluso entonces.
|
|
1:09:04
|
And by the way, the title no longer exists.
|
Y por cierto, el título ya no existe.
|
|
1:09:07
|
The movie is now The Legend of Black Charley.
|
La película ahora se llama
La leyenda de Charley.
|
|
1:09:10
|
This brazen poster,
|
Este afiche descarado
|
|
1:09:11
|
featuring a slight turn on the daguerreotype, said it all.
|
muestra un pequeño giro del daguerrotipo:
|
|
1:09:15
|
"Somebody warn the West. Nigger Charley ain't running no more."
|
"Que alguien le advierta al oeste.
Charlie ya no huirá".
|
|
1:09:21
|
Black was also finally added to the horror film in a serious way,
|
Los negros al fin participaban
en serio en películas de terror,
|
|
1:09:25
|
with a commanding William Marshall starring as the tragic vampire Blacula.
|
con el protagónico de William Marshall
como el vampiro trágico Blácula.
|
|
1:09:30
|
Slavery has merit, I believe.
|
La esclavitud tiene su mérito.
|
|
1:09:33
|
"Merit"?
|
¿"Mérito"?
|
|
1:09:35
|
You find "merit" in barbarity?
|
¿Ve "mérito" en la barbarie?
|
|
1:09:39
|
[Mitchell] I'd always thought that the good thing about the institutional racism
|
Siempre pensé que lo bueno
del racismo institucional
|
|
1:09:43
|
that kept Black people from being central figures in horror films was,
|
que impedía que los negros fueran
figuras centrales en filmes de terror,
|
|
1:09:46
|
for African Americans, the implicit understanding
|
para los afroestadounidenses,
el concepto implícito
|
|
1:09:49
|
that no supernatural force or threat of possession
|
de que ninguna fuerza sobrenatural
o amenaza de ser poseído
|
|
1:09:53
|
could be more monstrous than slavery
|
era más monstruosa que la esclavitud
|
|
1:09:55
|
or the Tuskegee Experiment,
|
o el experimento Tuskegee
|
|
1:09:57
|
or Emmett Till, a real-life Black innocent,
|
o Emmett Till,
un negro inocente de la vida real
|
|
1:10:01
|
who was the victim of monsters even the movies were afraid of,
|
víctima de monstruos
temidos hasta por las películas,
|
|
1:10:05
|
when they weren't glamorizing them.
|
cuando no los romantizaban.
|
|
1:10:09
|
With the Black press forcing the mainstream media
|
Con la prensa negra entrando a los medios…
|
|
1:10:11
|
to cover Emmett Till's death with an unblinking gaze
|
…para cubrir la muerte de Emmett Till
sin tapujos
|
|
1:10:14
|
and movies stepping up to recount Black horrors
|
y el cine que mostraba horrores
|
|
1:10:17
|
such as slavery and institutional cruelty,
|
como la esclavitud
y la violencia institucional,
|
|
1:10:20
|
a film take on the chaos caused by the death of Emmett Till
|
la visión cinematográfica del caos
causado por la muerte de Emmett Till
|
|
1:10:24
|
was the moment Black audiences were waiting for.
|
fue el momento que el público negro
estaba esperando.
|
|
1:10:27
|
That it never happened was a subtle hint of where the real power was in Hollywood.
|
Lo que nunca pasó fue una pista sutil
de dónde estaba el poder en Hollywood.
|
|
1:10:35
|
[Burnett] I remember the thing that woke me up, really woke me up,
|
Lo que me hizo tomar conciencia
|
|
1:10:37
|
was the Emmett Till picture on the Jet magazine.
|
fue la foto de Emmett Till
en la revista Jet.
|
|
1:10:40
|
I mean, talking about someone, grew up, the next day, a different person.
|
Eso me cambió como persona.
|
|
1:10:46
|
I still have the images I saw in Jet magazine about Emmett Till.
|
Aún recuerdo
las imágenes de Emmett Till que vi en Jet.
|
|
1:10:49
|
From that day on, I was aware of what his mother must have felt like.
|
A partir de ese día, entendí
lo que debió sentir su madre.
|
|
1:10:56
|
[Fargas] I remember as a kid,
|
Recuerdo que, de niño,
|
|
1:10:57
|
looking at Jet magazine and seeing Emmett Till's body,
|
vi el cuerpo de Emmett Till
en la revista Jet
|
|
1:11:01
|
and that impacted me.
|
y me impactó.
|
|
1:11:04
|
In some ways, we've been worn down to where we see pain and misery,
|
Estábamos acostumbrados
a ver dolor y desdicha,
|
|
1:11:07
|
and it does nothing,
|
y no hacía nada,
|
|
1:11:10
|
and it does nothing to us,
|
no nos hacía nada,
|
|
1:11:12
|
or it's onto the next one because we know it's gonna happen again.
|
o a otro,
porque sabemos que va a volver a pasar.
|
|
1:11:16
|
But it's getting more personal. It's getting closer and closer to…
|
Pero se vuelve más personal.
Se acerca cada vez más
|
|
1:11:21
|
to just humanity, man's inhumanity to man.
|
a la humanidad, a lo inhumano.
|
|
1:11:26
|
[Mitchell] That ongoing terror was beautifully defined
|
El terror continuo se describió muy bien
|
|
1:11:29
|
with the release of Marvin Gaye's What's Going On.
|
con el lanzamiento
de What's Going On de Marvin Gaye.
|
|
1:11:32
|
He was the first to sing social protest as a seducer
|
Fue el primero en cantar
protesta social de modo seductor
|
|
1:11:36
|
rather than being declamatory.
|
en vez de ser declamatorio.
|
|
1:11:37
|
And Gaye released another epical album in '72.
|
Gaye lanzó otro álbum épico en 1972.
|
|
1:11:41
|
This time a soundtrack
|
Esta vez, una banda sonora
|
|
1:11:43
|
that gave him the opportunity to return to his jazz roots.
|
que le dio la oportunidad
de volver a sus raíces de jazz.
|
|
1:11:46
|
-["Trouble Man" by Marvin Gaye playing] -♪ I come up hard, but now I'm cool ♪ ♪ I didn't make it, baby Playin' by the rules… ♪
|
SU MAJESTAD EL HAMPA (1972)
|
|
1:11:55
|
[Mitchell] Black film soundtracks had so often taken their cues from What's Going On,
|
Las bandas sonoras de películas negras
se inspiraron en What's Going On,
|
|
1:12:00
|
one of the most gorgeous and honestly revolutionary acts of Black pop culture,
|
uno de los actos más bellos y sinceramente
revolucionarios de la cultura negra,
|
|
1:12:05
|
so it made sense for Marvin Gaye to do the same.
|
y tenía sentido
que Marvin Gaye hiciera lo mismo.
|
|
1:12:08
|
He submitted the state of African-American affairs
|
Él llevó las cuestiones
de los afroestadounidenses
|
|
1:12:11
|
and picked up his musical autobiography with his Trouble Man score
|
y retomó su autobiografía musical
con la música de Su majestad el hampa
|
|
1:12:15
|
where he left off at What's Going On.
|
desde What's Going on.
|
|
1:12:21
|
And the movie music that would follow in its wake
|
La música de película que vino después
|
|
1:12:24
|
continued to assess the collateral damage of oppression
|
siguió mostrando
el daño colateral de la opresión
|
|
1:12:27
|
that he spelled out earlier.
|
del que él hablaba.
|
|
1:12:34
|
[Mitchell] But ironically, the most sublime of these scores
|
Irónicamente, la más sublime
de estas bandas sonoras
|
|
1:12:37
|
came from an artist whose influence was evident
|
vino de un artista
cuya influencia era evidente
|
|
1:12:40
|
on Marvin Gaye's break from old-time pop-soul.
|
de la ruptura de Marvin Gaye
del pop-soul de siempre.
|
|
1:12:43
|
It, too, included a honeyed falsetto
|
También incluía un falsetto acaramelado
|
|
1:12:45
|
rendering the struggle of Black American life.
|
que transmitía la lucha
de la vida de los afroestadounidenses.
|
|
1:12:48
|
♪ Ain't I clean? Bad machine Super cool, super mean ♪
|
¿Estoy limpio? Máquina mala.
Mucha onda, mucha maldad.
|
|
1:12:52
|
♪ Dealin' good for the Man Super fly, here I stand ♪
|
Vendo drogas para el gobierno.
Mucha onda, aquí estoy.
|
|
1:12:55
|
♪ Secret stash… ♪
|
Drogas guardadas…
|
|
1:12:57
|
[Mitchell] Curtis Mayfield's lyric summaries of social conditions
|
La letra de Curtis Mayfield resume
las condiciones sociales
|
|
1:13:00
|
and a militant refusal to surrender to institutional inertia
|
y la negativa militante
de rendirse a la inercia institucional
|
|
1:13:04
|
can be heard throughout his entire solo career.
|
que se oye
en toda su carrera como solista.
|
|
1:13:07
|
Mayfield's musical output for this decade spanned 20 albums,
|
El material de Mayfield de esta década
abarca 20 discos,
|
|
1:13:11
|
among them five soundtracks.
|
cinco de los cuales son bandas sonoras.
|
|
1:13:14
|
His sinewy intimacy and piercing songwriting
|
Su vigorosa intimidad
y composición punzante
|
|
1:13:17
|
set the tone in Black film from then on,
|
marcan el tono del cine negro
de ahí en más,
|
|
1:13:20
|
starting with Super Fly, as an example for many of his fellow musicians.
|
empezando con Super Fly,
como ejemplo para muchos otros músicos.
|
|
1:13:25
|
And Mayfield took his lead from Melvin Van Peebles
|
Mayfield siguió el ejemplo
de Melvin Van Peebles
|
|
1:13:28
|
with the unusual tactic of releasing the Super Fly score
|
y su táctica inusual de lanzar
la música de Super Fly
|
|
1:13:31
|
before the movie came out.
|
antes del estreno de la película.
|
|
1:13:33
|
Because it was an immediate sensation,
|
Como enseguida causó sensación,
|
|
1:13:36
|
the Super Fly soundtrack served as an invitation to the movie.
|
la banda sonora de Super Fly
invitó a ver la película.
|
|
1:13:40
|
John Calley, who ran Warner Bros. in the 1970s,
|
John Calley,
ejecutivo de Warner Bros. en 1970,
|
|
1:13:44
|
told me he thought Super Fly started a trend,
|
me dijo que Super Fly marcó la tendencia
|
|
1:13:47
|
using the soundtracks to create excitement about the movies
|
de usar bandas sonoras
para crear expectativa…
|
|
1:13:50
|
prior to theatrical release.
|
MÚSICA DE CURTIS MAYFIELD
|
|
1:13:53
|
The textures of Mayfield's score,
|
Las texturas en la música de Mayfield
|
|
1:13:55
|
dramatizing and commenting on the life of the protagonist,
|
que dramatiza y comenta
la vida del protagonista,
|
|
1:13:58
|
was reflected in the down and dirty accomplishment
|
se reflejó en el logro realista
|
|
1:14:01
|
of cinematographer James Signorelli.
|
del director de fotografía James Signorelli.
|
|
1:14:03
|
One of the best foot-chase scenes in movies, with no stuntmen,
|
Una de las mejores escenas
de persecución a pie, sin dobles,
|
|
1:14:07
|
was caught in the film's guerilla shooting style by Signorelli.
|
se ve en el estilo
de filmación clandestina de Signorelli.
|
|
1:14:10
|
[Signorelli] He had to have a route of escape. Jimmy was the guy he was chasing.
|
Necesitaba una ruta de escape.
Perseguía a Jimmy.
|
|
1:14:20
|
We were standing around, and Ron said, "I can jump that fence."
|
Estábamos ahí cerca,
y Ron dijo: "Puedo saltar la cerca".
|
|
1:14:26
|
And that was all there was to it. That was all the rehearsal.
|
Eso fue todo. Ese fue el ensayo.
|
|
1:14:29
|
It certainly wasn't more than one take, I'll tell you that.
|
Les aseguro que hubo una sola toma.
|
|
1:14:31
|
It was definitely a combination of the two aesthetics.
|
Fue una combinación de dos estéticas.
|
|
1:14:35
|
One was the documentary photography that people had been doing,
|
Fotografía de documental
que se venía haciendo…
|
|
1:14:38
|
particularly Leacock, Pennebaker, you know, Maysles, all those guys,
|
…en especial, Leacock, Pennebaker,
Maysles, todos ellos,
|
|
1:14:42
|
myself included, you know, Bob Elfstrom.
|
yo incluido, y Bob Elfstrom.
|
|
1:14:44
|
The stuff that we were all doing was bleeding into the technique
|
Todos expandíamos la técnica
|
|
1:14:48
|
of shooting feature films,
|
de filmar largometrajes
|
|
1:14:49
|
particularly where the environment was a third party.
|
donde el entorno era un tercero.
|
|
1:14:53
|
[Mitchell] Signorelli's improvisational approach was applied
|
La improvisación de Signorelli se aplicó
|
|
1:14:56
|
to other kinds of action in Super Fly,
|
a todo tipo de acción en Super Fly,
|
|
1:14:58
|
such as the scene with Sheila Frazier and star Ron O'Neal
|
como la escena con Sheila Frazier
y la estrella, Ron O'Neal,
|
|
1:15:02
|
that was frank and passionate about Black love.
|
franca y apasionada sobre el amor negro.
|
|
1:15:05
|
I can feel from you what it's like out there.
|
Me transmites lo que es estar ahí.
|
|
1:15:09
|
I see what it does to you,
|
Veo lo que te hace,
|
|
1:15:10
|
and I know… I know how dope helps hold your head together.
|
y sé que la droga
te ayuda a mantenerte cuerdo.
|
|
1:15:15
|
I don't want your privacy, baby.
|
No quiero meterme en tu vida.
|
|
1:15:18
|
All I wanna do is help you share the weight.
|
Solo quiero ayudarte a aliviar la carga.
|
|
1:15:20
|
-[sensual funk music playing] -[Frazier] I said, "Once the suds go away,
|
Dije: "Cuando se vaya la espuma,
|
|
1:15:24
|
we have to stop it and refill the suds because I don't wanna be seen."
|
hay que parar y rellenar de espuma,
no quiero que me vean".
|
|
1:15:28
|
I don't know what I was thinking about. It was pretty hard not to be seen.
|
No sé qué estaba pensando.
Era difícil que no me vieran.
|
|
1:15:33
|
I would not know that at the premiere of that movie
|
No sabía que en el estreno
|
|
1:15:37
|
that they put that scene in slow motion.
|
pasarían esa escena en cámara lenta.
|
|
1:15:40
|
[Signorelli] And I believe at one point, Judith Crist said,
|
Creo que Judith Crist dijo:
|
|
1:15:43
|
"It was the most tasteful and erotic scene in cinema history."
|
"Fue la escena con más clase
y más erótica en la historia del cine".
|
|
1:15:48
|
[Frazier] Richard Roundtree was the one who helped me get the audition.
|
Richard Roundtree
me consiguió una audición.
|
|
1:15:52
|
Richard said, "You've gotta walk in like it's yours."
|
Richard dijo: "Aduéñate del papel".
|
|
1:15:57
|
I said, "Okay, all right."
|
Dije: "Está bien".
|
|
1:15:58
|
So I walked in, and I put my feet up on the desk,
|
Entré, puse un pie en el escritorio
|
|
1:16:02
|
on Sig Shore's desk, and I said, "You know what,
|
de Sig Shore y dije: "¿Sabes qué?
|
|
1:16:04
|
you don't have to see another person because the film is mine."
|
No veas a otra persona,
este papel ya es mío".
|
|
1:16:08
|
Gordon said, "You've got this!"
|
Gordon dijo: "Es tuyo".
|
|
1:16:10
|
Well, after Gordon told me I had it, and I was so ecstatic,
|
Después de que Gordon me dijera eso,
estaba tan feliz
|
|
1:16:14
|
then he had to call me and apologize and say,
|
que tuvo que llamarme
para disculparse y decirme:
|
|
1:16:16
|
"I'm so sorry, but Sig Shore wanted a different look."
|
"Perdón, Sig Sore quiere otro aspecto.
|
|
1:16:20
|
"He wanted a very voluptuous woman."
|
Quiere una mujer más voluptuosa".
|
|
1:16:22
|
It was so devastating, I just changed all--
|
Eso me destrozó, cambié todos…
|
|
1:16:26
|
I had two telephones. I changed both… both numbers,
|
Tenía dos teléfonos. Cambié ambos números
|
|
1:16:29
|
so I would never have to speak to anybody again.
|
para no tener
que volver a hablar con nadie.
|
|
1:16:33
|
About three months later, this guy walks up to me, you know, and he's like,
|
Tres meses después,
se me acercó un tipo y me dijo:
|
|
1:16:37
|
"I'm a producer." I'm like, "Good for you."
|
"Soy productor". Le dije: "Te felicito".
|
|
1:16:40
|
So he says, "Well, what's your name?"
|
Él me preguntó cómo me llamaba,
y se lo dije.
|
|
1:16:41
|
So I gave him my name. He says, "Oh my God!"
|
Él me preguntó cómo me llamaba,
y se lo dije. Dijo: "Dios mío.
|
|
1:16:44
|
"We've been trying to find you for three months."
|
Hace tres meses que te buscamos.
|
|
1:16:47
|
"We've been trying to find you." I'm saying, "Who's 'we'?"
|
Te estuvimos buscando". Pregunté quiénes.
|
|
1:16:50
|
So he says, "Well, I'm a producer on a movie called Super Fly." I said, "Eh-eh."
|
Me dijo: "Soy productor
de la película Super Fly". Dije…
|
|
1:16:55
|
And as soon as I got home, the phone was ringing off the hook.
|
Apenas llegué a casa,
el teléfono no paraba de sonar.
|
|
1:16:58
|
[Mitchell] The result, John Calley told me, was that Super Fly,
|
John Calley me dijo que Super Fly,
|
|
1:17:02
|
an independently made project that Warner Bros. bought for $150,000,
|
un proyecto independiente
que Warner Bros. compró por $150 000,
|
|
1:17:06
|
a pittance by even 1972 standards,
|
que incluso en 1972 era una miseria,
|
|
1:17:09
|
went on to gross around $30 million.
|
recaudó cerca de $30 millones.
|
|
1:17:13
|
[Ron O'Neal] Super Fly has played to an awful lot of white people.
|
Super Fly les hizo ganar
mucho dinero a los blancos.
|
|
1:17:15
|
It's the only way you can do 19, 20 million dollars.
|
Es el único modo en que puedas ganar
19 o 20 millones.
|
|
1:17:18
|
We've been in Boston 17 weeks.
|
Estuvimos 17 semanas en Boston.
|
|
1:17:20
|
We ran out of Black people in three weeks… [chuckling] …in Boston, you know?
|
En tres semanas,
se nos acabaron los negros.
|
|
1:17:25
|
[male reporter] Super Fly, slang for cocaine among users,
|
Super Fly, que en la jerga
de los adictos significa cocaína,
|
|
1:17:28
|
is the story of a Black New York City narcotics dealer.
|
es la historia
de un traficante negro de Nueva York.
|
|
1:17:31
|
Strong objections to the film were raised today by R.L. Livingston
|
A la película se le opuso R.L. Livingston
|
|
1:17:35
|
of the Better Influence Association in Fort Worth.
|
de la Better Influence Association
de Fort Worth.
|
|
1:17:38
|
I don't know what this council can do, but I'm bringing it to your attention
|
No sé qué puede hacer este consejo,
pero lo presento
|
|
1:17:42
|
because you are the city council of Fort Worth,
|
porque con el concejo municipal
de Fort Worth
|
|
1:17:44
|
and you represent the problem-solving division here,
|
y se encargan de solucionar problemas.
|
|
1:17:47
|
and I hope that we can do this thing here without the citizens going up on their own
|
Espero que puedan hacerlo
y no dejen solos a los ciudadanos
|
|
1:17:51
|
to boycott such trash and filth in our community.
|
para boicotear semejante basura
en nuestra comunidad.
|
|
1:17:55
|
How do you see your role in Super Fly, as a positive force or a negative one?
|
¿Cómo ves tu papel en Super Fly,
como algo positivo o negativo?
|
|
1:18:01
|
Obviously, I consider it a positive one, or I never would have done the film.
|
Obviamente, lo considero positivo,
o nunca habría hecho la película.
|
|
1:18:05
|
When we made Super Fly,
|
Cuando hicimos Super Fly,
|
|
1:18:06
|
we made it about the way things actually are,
|
mostramos las cosas
como son en la realidad,
|
|
1:18:11
|
and we hoped it would be judged and criticized on that basis.
|
y esperamos que nos juzgaran
y nos criticaran en base a eso.
|
|
1:18:15
|
Uh, but my… from my observation, you know,
|
Pero, según lo que yo veo,
|
|
1:18:19
|
Super Fly has been largely criticized from some…
|
Super Fly fue muy criticada por algunos…
|
|
1:18:23
|
…some, you know, some sphere,
|
por algunas esferas,
|
|
1:18:25
|
some… some plane, some plateau, you know, that has no bearing on the film.
|
algunos sectores
que no son importantes para la película.
|
|
1:18:30
|
[Bobby Seale] They use the Black community to make the movies in the first place.
|
Usan a la comunidad negra
para hacer películas.
|
|
1:18:33
|
Uh, we're tired of these white producers coming in and making Black movies
|
Estamos hartos de los blancos
que hacen películas de negros…
|
|
1:18:36
|
and then, in turn, are exploiting the Black community.
|
…y, a cambio, explotan a la comunidad negra.
|
|
1:18:39
|
Also, the Black extras who live in Oakland and Berkeley and around the area
|
A los extras negros que viven
en Oakland o Berkeley
|
|
1:18:43
|
are only getting $10 a day. They should be getting $50 a day.
|
les pagan $10 por día.
Deberían cobrar $50 por día.
|
|
1:18:48
|
I think all the artists, since I know them personally,
|
Conozco personalmente
a todos los artistas,
|
|
1:18:52
|
uh, you know, are responsible people
|
y son personas responsables,
|
|
1:18:55
|
who are concerned about what is happening in the Black communities.
|
que se preocupan por lo que pasa
en las comunidades negras.
|
|
1:18:59
|
We are, of course, uh, not able to make a motion picture alone.
|
No podemos hacer una película solos.
|
|
1:19:04
|
Many other elements go into the making of a motion picture,
|
Muchos otros elementos
se necesitan para hacer una película,
|
|
1:19:08
|
most important of which, I suppose, initially, would be huge sums of money.
|
supongo que el más importante
es mucho dinero.
|
|
1:19:14
|
[Mitchell] The footballers-turned-movie stars Jim Brown and Fred Williamson
|
Los futbolistas ahora estrellas de cine,
Jim Brown y Fred Williamson,
|
|
1:19:18
|
came through that year with two films each,
|
hicieron dos películas cada uno ese año,
|
|
1:19:21
|
with impatient titles that are both synonyms and descriptors.
|
con títulos impacientes que son
tanto sinónimos como descripciones.
|
|
1:19:24
|
Like Shaft, whose sequel, Shaft's Big Score,
|
Igual que Shaft, cuya secuela,
Shaft vuelve a Harlem,
|
|
1:19:27
|
sounds like it could be an athlete-turned-actor adventure.
|
podría ser una aventura
de un atleta devenido en actor.
|
|
1:19:32
|
And these films were all solidly tattooed with the label "blaxploitation,"
|
Todos estos filmes fueron tildados
con el rótulo "explotación negra"…
|
|
1:19:37
|
a brand that offered acknowledgment and dismissal simultaneously.
|
…un término de reconocimiento
y, a la vez, de descarte.
|
|
1:19:41
|
Though these films coursed through the bloodstream of American social
|
Estas películas eran parte
de la sociedad estadounidense
|
|
1:19:45
|
and popular culture,
|
y la cultura popular,
|
|
1:19:46
|
they were seldom addressed in mainstream media,
|
casi nunca se las mencionaba
en los medios,
|
|
1:19:49
|
except, of course, to provoke panic.
|
salvo para causar pánico.
|
|
1:19:51
|
When I think of the word "blaxploitation," I think of the commodifying of Blackness.
|
Cuando pienso en "explotación negra",
pienso en que se vende la negrura.
|
|
1:19:57
|
"How do we package and sell Blackness?"
|
"¿Cómo empacamos y vendemos la negrura?".
|
|
1:19:59
|
"Exploitation" because they were white writers, white producers,
|
Es explotación porque eran
guionistas blancos, productores blancos,
|
|
1:20:05
|
white director, and then they took it to the Black community,
|
directores blancos,
y todos recurrieron a la comunidad negra
|
|
1:20:09
|
and the Black community ate it up, made them a lot of money,
|
y la comunidad los amó,
les hizo ganar mucho dinero,
|
|
1:20:14
|
but not us.
|
pero no a nosotros.
|
|
1:20:17
|
Is that not exploitation?
|
¿Eso no es explotación?
|
|
1:20:19
|
[Mitchell] Though the blaxploitation brand so often provoked debate and condemnation,
|
Si bien la explotación negra
provocaba debate y era censurable,
|
|
1:20:24
|
the films quite often generated appeal and profit.
|
las películas eran atractivas
y generaban ganancias.
|
|
1:20:31
|
Mainstream movies now regarded as classic
|
Las películas comerciales
consideradas clásicos
|
|
1:20:33
|
feature white stars, bored with heroism,
|
mostraban blancos aburridos del heroísmo
|
|
1:20:36
|
becoming antiheroes as a way of wrestling with that issue
|
convertidos en antihéroes
para combatir ese aburrimiento,
|
|
1:20:39
|
and frustrating audiences in the bargain.
|
y además frustraban al público.
|
|
1:20:44
|
The Black stars, and one wonders why that wasn't a film title from the era,
|
Las estrellas negras, nadie se pregunta
por qué no se le da nombre a esa época,
|
|
1:20:49
|
made audiences beneficiaries of another natural evolution,
|
beneficiaban al público
con otra evolución natural,
|
|
1:20:52
|
swag in their own beauty and reveling in being in the center of the frame.
|
desplegaban su belleza
y ocupaban el centro de la escena.
|
|
1:20:58
|
Certainly, in the Five Families scene from The Godfather,
|
En la escena de las cinco familias
de El padrino,
|
|
1:21:01
|
Francis Coppola showed the thoughtlessness of these characters in this scene,
|
Francis Coppola muestra
a personajes desconsiderados,
|
|
1:21:05
|
clearly meant to be an indictment of them and not an approval of their thoughts.
|
y eso era más bien una acusación
y no una reivindicación.
|
|
1:21:09
|
In my city, we would keep the trafficking to dark people, the colored.
|
En mi ciudad,
vendemos drogas a la gente de color.
|
|
1:21:12
|
They're animals anyway, so let them lose their souls.
|
Igual son animales,
dejemos que pierdan su alma.
|
|
1:21:16
|
[Mitchell] Still, even understanding what the film's intent was,
|
Aun si entendemos
cuál era la intención de la película,
|
|
1:21:19
|
that sentiment can be a little hard to hear.
|
cuesta oír esa opinión.
|
|
1:21:21
|
But it did ask a question answered by many Black films,
|
Pero hacía una pregunta
que respondieron muchos filmes de negros…
|
|
1:21:24
|
which showed the rot left by drugs.
|
…la decadencia causada por la droga.
|
|
1:21:26
|
No! No! For God's sake!
|
¡No! ¡Por Dios!
|
|
1:21:34
|
[Mitchell] Black films created a warrior class where there hadn't been one before.
|
Los filmes negros crearon
una clase guerrera que no existía.
|
|
1:21:38
|
Black audiences no longer had to sift through stories to find subtext
|
El público negro ya no debía examinar
la historia para encontrar el subtexto
|
|
1:21:42
|
that explained why Black characters hovered in the margins.
|
que explicaba por qué los negros
tenían papeles pequeños.
|
|
1:21:45
|
They now inhabited center frame by natural right.
|
Ahora estaban en el centro de la escena
por derecho propio.
|
|
1:21:48
|
And at a time when the only mainstream movie hero
|
En una época donde el único héroe
del cine comercial era Bond,
|
|
1:21:51
|
was Bond, James Bond,
|
En una época donde el único héroe
del cine comercial era Bond, James Bond, que, en 1973,
vio al 007 de Roger Moore
|
|
1:21:53
|
who, in 1973, saw Roger Moore's 007 go nose-to-false-nose
|
James Bond, que, en 1973,
vio al 007 de Roger Moore cabeza a cabeza falsa con el primero
|
|
1:21:58
|
with the series' first and, to date, only Black big bad,
|
cabeza a cabeza falsa con el primero y hasta la fecha, único villano negro,
interpretado por Yaphet Kotto,
|
|
1:22:02
|
played by Yaphet Kotto,
|
y hasta la fecha, único villano negro,
interpretado por Yaphet Kotto,
|
|
1:22:04
|
in this ever-changing world in which Bond lived.
|
en este mundo cambiante
en el que solo vivía Bond.
|
|
1:22:09
|
Quite revealing.
|
Qué revelador.
|
|
1:22:12
|
[Mitchell] Black movies were portraying the dilemmas of the inner city,
|
Las películas negras mostraban
los dilemas de las ciudades,
|
|
1:22:15
|
the ravages of crime, and the drug war.
|
las venganzas y la guerra por drogas.
|
|
1:22:18
|
Only, in these films, African-American leads were fighting back.
|
Solo en estas películas
los afroestadounidenses se resistían.
|
|
1:22:22
|
It was understood that cops wouldn't help.
|
Se sabía que la policía no ayudaría.
|
|
1:22:24
|
They were often as indifferent as they were corrupt.
|
Siempre fue tan indiferente como corrupta.
|
|
1:22:27
|
Jim Brown reprised Slaughter, his verb-as-surname character,
|
Jim Brown repitió a Slaughter,
el apellido de su personaje…
|
|
1:22:30
|
in Slaughter's Big Rip-Off,
|
…en Código del crimen,
|
|
1:22:32
|
complemented by the singular two-fisted funk
|
con el complemento
de su singular funk potente
|
|
1:22:35
|
of an early James Brown score.
|
de un tema anterior de James Brown.
|
|
1:22:38
|
In Hit!, Billy Dee Williams was a CIA agent
|
En El supergolpe, Billy Dee Williams
era una gente de la CIA…
|
|
1:22:41
|
who recruits an unlikely group of walking wounded
|
…que recluta a un grupo raro de heridos
|
|
1:22:44
|
in his personal fight against international drug dealers.
|
en su lucha personal
contra narcotraficantes internacionales.
|
|
1:22:47
|
He lost his daughter to drugs.
|
Perdió a su hija por las drogas.
|
|
1:22:48
|
What's it gonna do for you to kill me, man?
|
¿Qué ganarás sin me matas?
|
|
1:22:52
|
I'm just a worker.
|
Solo soy un trabajador.
|
|
1:22:53
|
It really required a kind of a… a mentality
|
Se necesitaba cierta mentalidad
|
|
1:22:58
|
that he was capable of using whatever, uh, he needed to use
|
que fuera capaz
de usar lo que fuera necesario
|
|
1:23:03
|
in order to accomplish his mission.
|
para lograr su misión.
|
|
1:23:09
|
That's very interesting.
|
Eso es muy interesante.
|
|
1:23:11
|
And, in a way that, for… uh, little brown-skinned boys like me
|
Los morenos como yo
|
|
1:23:16
|
never had the opportunity to do that kind of stuff.
|
nunca tuvimos la oportunidad
de hacer esas cosas.
|
|
1:23:20
|
And the fact that Sidney wanted me to play that character,
|
Y que Sidney me diera ese personaje…
|
|
1:23:22
|
felt I was right for that character,
|
…que me considerara apto para el papel,
|
|
1:23:24
|
I tried to use it in the best way that I could.
|
fue algo que aproveché lo mejor que pude.
|
|
1:23:28
|
Again, it was an opportunity
|
Era una oportunidad
|
|
1:23:30
|
to show a side that you normally would not see on-screen.
|
de mostrar una faceta
que no se suele ver en pantalla.
|
|
1:23:34
|
I think that adds to the vulnerability. I was thinking about vulnerability.
|
Creo que le aporta vulnerabilidad.
Pensaba en vulnerabilidad.
|
|
1:23:38
|
It makes the character a little bit more than just a ruthless kind of individual.
|
El personaje es algo más
que un individuo despiadado.
|
|
1:23:46
|
[Mitchell] Gordon's War featured a group of Black Vietnam vets
|
La guerra privada de Gordon mostraba
a unos veteranos de Vietnam…
|
|
1:23:49
|
using their skills to return fire against drug dealers.
|
…que usaban sus aptitudes
para repeler a vendedores de drogas.
|
|
1:23:53
|
It featured a couple of startlingly original visual high points
|
Mostraba varios momentos destacados
increíblemente originales
|
|
1:23:56
|
that have been quoted in films ever since.
|
que, desde entonces,
se citan en las películas.
|
|
1:23:59
|
New Jack City, to name just one,
|
La fortaleza del vicio, por ejemplo.
|
|
1:24:01
|
scored by Angelo Badalamenti, who would later work with David Lynch.
|
Con música de Angelo Badalamenti,
que después trabajaría con David Lynch.
|
|
1:24:06
|
Got a light?
|
¿Tienes fuego?
|
|
1:24:07
|
This MacGyver-like action moment with an aerosol can,
|
Este momento de acción con un aerosol
al estilo Mac-Gyver,
|
|
1:24:10
|
which could be seen as a metaphor for its environmental danger,
|
que se ve como una metáfora
del riesgo ambiental,
|
|
1:24:13
|
has made its way into innumerable action films.
|
se abrió paso
en innumerables filmes de acción.
|
|
1:24:20
|
[Mitchell] Audiences of all colors came out to see these movies
|
Públicos de todos los colores
iban a ver esas películas,
|
|
1:24:22
|
because they could feel the adrenaline in the actors,
|
porque sentían
la adrenalina de los actores,
|
|
1:24:25
|
many of whom came from the stage, and those actors' exhilaration in working.
|
muchos de los cuales venían del teatro,
y la emoción de los actores en escena.
|
|
1:24:30
|
-[upbeat funk music playing] -Second runner-up, Pretty Tony!
|
Segundo puesto, Pretty Tony.
|
|
1:24:33
|
[Mitchell] In The Mack, for example, Dick Anthony Williams as Pretty Tony
|
En esta película,
Dick Anthony Williams como Pretty Tony
|
|
1:24:37
|
is as compelling as any figure in a '30s gangster movie.
|
es tan convincente como cualquier figura
en una película de gánsteres de 1930.
|
|
1:24:40
|
He told me his improvisations came out of wanting to portray
|
Me dijo que sus improvisaciones
surgieron de querer mostrar
|
|
1:24:43
|
an inner-city version of Edward G. Robinson
|
a un Edward G. Robinson pobre,
|
|
1:24:46
|
brought up-to-date with turns of phrases he heard growing up.
|
actualizado con las expresiones
que oía de niño.
|
|
1:24:50
|
Nigga, next time you hear grown folks talkin',
|
Negro, la próxima que oigas
hablar a dos adultos,
|
|
1:24:54
|
shut the fuck up. Hear?
|
cierra el pico. ¿Entendido?
|
|
1:24:55
|
[Mitchell] The impact of that kind of concise hypermasculinity
|
El impacto
de esa hipermasculinidad concisa
|
|
1:24:58
|
would be felt decades later, in lines that seem to be written for Black actors,
|
se vería décadas más tardes, en diálogos
que parecen escritos para actores negros
|
|
1:25:02
|
if not spoken by them.
|
aunque no las dijeran.
|
|
1:25:04
|
-Want me to shoot this guy? -Shit.
|
- ¿Quieres que lo mate?
- Mierda.
|
|
1:25:07
|
You shoot me in a dream, you better wake up and apologize.
|
Si me matas en un sueño,
despiértate para disculparte.
|
|
1:25:14
|
[Mitchell] There was a more specific realization
|
Se lo entendió mejor
|
|
1:25:16
|
of Edward G. Robinson to come in Black Caesar.
|
a Edward G. Robinson
en El padrino de Harlem.
|
|
1:25:18
|
They never look at me. They never look at my face, my nose, my lame foot.
|
Nunca me ven.
No ven mi rostro, mi nariz, mi renguera.
|
|
1:25:23
|
All they know is that I'm Black.
|
Solo saben que soy negro.
|
|
1:25:26
|
[Mitchell] Imagine if the man who inspired Cohen to write Black Caesar,
|
Imaginen si el hombre que inspiró a Cohen
a escribir la película, Sammy Davis Jr.,
|
|
1:25:29
|
Sammy Davis Jr., got to star in the work he set into motion,
|
Imaginen si el hombre que inspiró a Cohen
a escribir la película, Sammy Davis Jr., protagonizara la obra que empezó,
|
|
1:25:33
|
but Cohen ended up with Fred Williamson as Black Caesar.
|
pero Cohen terminara eligiendo
a Fred Williamson de protagonista.
|
|
1:25:36
|
When he asked the studio head to account for the size difference
|
Cuando le preguntó
al presidente del estudio la diferencia
|
|
1:25:39
|
between Williamson and Davis,
|
entre Williamson y Davis,
|
|
1:25:41
|
the studio head thought for a moment and said,
|
el presidente pensó un momento y dijo:
|
|
1:25:44
|
"Give Fred a limp."
|
"Que Fred sea cojo".
|
|
1:25:50
|
A 1973 concert documentary, Save the Children,
|
Un documental musical de 1973,
Save the Children,
|
|
1:25:53
|
filmed at the 1972 Operation PUSH rally,
|
filmado en la marcha Operation PUSH
de 1972,
|
|
1:25:57
|
had appearances that ranged from Jesse Jackson to The Jackson 5,
|
con apariciones que van
desde Jesse Jackson a The Jackson 5,
|
|
1:26:01
|
from Nancy Wilson to Zulema,
|
de Nancy Wilson a Zulema,
|
|
1:26:05
|
and put music and progressive politics together.
|
y combina la música
y la política progresista.
|
|
1:26:07
|
It was a massive enterprise to assemble.
|
Fue un evento enorme de organizar.
|
|
1:26:12
|
We started with the Motown acts. So once we'd booked Marvin Gaye,
|
Empezamos con artistas de Motown.
Cuando conseguimos a Marvin Gaye,
|
|
1:26:17
|
Temptations,
|
Temptations,
|
|
1:26:18
|
Gladys Knight & the Pips, you know, folks like that,
|
Gladys Knight & the Pips,
gente de esa talla,
|
|
1:26:20
|
it started to be this thing about people wanted to do it.
|
los demás se interesaron en participar.
|
|
1:26:23
|
And then, Clarence had a record company, so he got Bill Withers and Nancy Wilson
|
Clarence tenía una discográfica,
consiguió a Bill Withers, Nancy Wilson…
|
|
1:26:28
|
and Sammy Davis Jr.
|
…y Sammy Davis Jr.
|
|
1:26:30
|
Quincy was already involved so he got Roberta Flack,
|
Quincy, que ya participaba,
consiguió a Roberta Flack
|
|
1:26:33
|
and he put together a house band that was an all-star band.
|
y armó una banda de estrellas.
|
|
1:26:38
|
And so this thing sort of turned into this amazing gathering
|
Se convirtió en una reunión increíble
|
|
1:26:42
|
of some of the best musicians that were available at that time.
|
de los mejores músicos de la época.
|
|
1:26:46
|
It was big. It was huge.
|
Fue enorme.
|
|
1:26:48
|
And it was a… a huge success,
|
Y fue un gran éxito,
|
|
1:26:50
|
'cause all of those musicians brought their best game.
|
porque todos esos músicos
estaban en su mejor momento.
|
|
1:27:02
|
It got to a point where the level of artistry was off the roof. It was crazy.
|
El nivel de artistas era increíble.
Una locura.
|
|
1:27:09
|
[Mitchell] Black female characters determined to be recognized
|
Los personajes femeninos negros
eran reconocidos
|
|
1:27:12
|
not merely because of their proximity to a man.
|
no solo por estar cerca de un hombre.
|
|
1:27:15
|
No longer compliant arm candy,
|
Ya no eran las acompañantes atractivas,
|
|
1:27:18
|
they also threw down against a battalion of stuntmen.
|
también se enfrentaban
contra un batallón de dobles.
|
|
1:27:21
|
It was the final frontier for Black actresses
|
Fue la última frontera
para las actrices negras
|
|
1:27:24
|
and established a definition of heroism
|
y estableció una definición de heroísmo
|
|
1:27:27
|
that allowed for directness rather than martyrdom.
|
que mostró franqueza en vez de martirio.
|
|
1:27:30
|
Before this, movies often conflated Black femininity
|
Antes de esto,
los filmes combinaban la femineidad negra
|
|
1:27:33
|
with romanticized masochism.
|
con un masoquismo romantizado.
|
|
1:27:36
|
What audiences were getting was something entirely new.
|
El público ahora veía
algo totalmente nuevo.
|
|
1:27:40
|
Black films are just, like… It's an evolution.
|
Las películas negras son…
Es una evolución.
|
|
1:27:42
|
It's not something that's gonna come and pop automatically,
|
No es algo que aparece de la nada
|
|
1:27:45
|
and everything will happen immediately because nothing happens that way,
|
y donde todo es inmediato,
porque nada sucede de ese modo,
|
|
1:27:48
|
and things will take time. Progress has to be a slow thing
|
las cosas llevan tiempo.
El progreso tiene que ser lento
|
|
1:27:52
|
in order for it to be definite, you know, and beneficial, I think,
|
para ser permanente y beneficioso, creo,
|
|
1:27:55
|
so it's gonna take a little while.
|
así que tardaré un tiempo.
|
|
1:27:56
|
There's so many different areas that haven't been… been realized yet
|
Hay muchos aspectos
que aún no hemos alcanzado
|
|
1:28:00
|
as far as Black actors are concerned.
|
como actores negros.
|
|
1:28:02
|
And, uh, it's all new to me. I'm… I'm a new actress, as you know,
|
Todo esto es nuevo para mí.
Soy una actriz nueva,
|
|
1:28:07
|
and, uh, I've just begun to work,
|
apenas comienzo a trabajar,
|
|
1:28:10
|
and there's so many areas of work I haven't touched yet.
|
y hay muchos aspectos que aún no exploré.
|
|
1:28:12
|
I have a lot more training that I have to get
|
Tengo que formarme más
|
|
1:28:14
|
before I can really call myself an actress.
|
antes de llamarme actriz.
|
|
1:28:17
|
[Mitchell] Laurence Olivier once said,
|
Laurence Olivier dijo:
|
|
1:28:19
|
"When you're young, you're too bashful to play a hero."
|
"Cuando eres joven,
eres muy tímido para interpretar un héroe.
|
|
1:28:22
|
"You debunk it." "It's only when you're older
|
Lo desacreditas. Solo cuando eres mayor,
|
|
1:28:25
|
that you understand the pictorial beauty of heroism."
|
entiendes la belleza gráfica
del heroísmo".
|
|
1:28:28
|
Black actors not only understood that beauty, they embraced it
|
Los actores negros no solo entendieron
esa belleza, la aceptaron…
|
|
1:28:32
|
because of the communal thirst we had for heroes.
|
…por nuestra necesidad comunitaria
de tener héroes.
|
|
1:28:35
|
America, in the throes of uncertainty, embraced those Black heroes
|
En medio de la incertidumbre,
EE. UU. aceptó a los héroes negros
|
|
1:28:39
|
who were played onto the screens with dynamic and celebratory music scores.
|
que se mostraban en el cine
con música dinámica y de celebración.
|
|
1:28:44
|
Remember, it was Shaft that saved MGM from bankruptcy.
|
Recuerden que Shaft
salvó a MGM de la quiebra.
|
|
1:28:47
|
And the newest arrival to this extraordinary league
|
Y la nueva llegada
de una liga extraordinaria
|
|
1:28:51
|
that redefined accomplishment and glory in the movies was Pam Grier.
|
que redefinió los logros y la gloria
en el cine fue Pam Grier.
|
|
1:28:55
|
From 1970 until 1973, she appeared in seven films,
|
De 1970 a 1973,
|
|
1:29:00
|
with each role giving her more screen time.
|
cada papel le daba más tiempo en pantalla.
|
|
1:29:02
|
A 1970s Esquire magazine article
|
En un artículo
de la revista Esquire de 1970…
|
|
1:29:05
|
on rising stars that would go on to change the movies,
|
…sobre estrellas en ascenso
que cambiarían las películas,
|
|
1:29:09
|
a group that included Steven Spielberg, who was just finishing Jaws,
|
un grupo que incluía a Steven Spielberg,
que había terminado Tiburón,
|
|
1:29:12
|
and George Lucas, fighting to start something called The Star Wars,
|
y a George Lucas, que iba a empezar
algo llamado Star Wars,
|
|
1:29:16
|
Pam Grier was one of the few actors mentioned,
|
Pam Grier era una de las pocas actrices
nombradas como:
|
|
1:29:18
|
described as, "One of three actresses whose movies consistently make money."
|
Pam Grier era una de las pocas actrices
nombradas como: "Una de las tres actrices
cuyas películas ganan dinero.
|
|
1:29:22
|
"The other two are named Barbra and Liza."
|
Las otras dos se llaman Barbra y Liza".
|
|
1:29:25
|
Grier said, "I'm the only lady in movies nowadays who isn't a victim."
|
Grier dijo: "En el cine de hoy,
soy la única mujer que no es una víctima.
|
|
1:29:29
|
"Determination was key working roles such as a half-panther madwoman,"
|
La determinación fue clave
en papeles de mujer aguerrida",
|
|
1:29:33
|
as the article says.
|
tal como dice el artículo.
|
|
1:29:35
|
In '73, she was also in Scream Blacula Scream…
|
En 1973, también actuó
en ¡Grita! Blácula ¡Grita!…
|
|
1:29:37
|
Now, with such a lovely guide,
|
Con una guía tan encantadora…
|
|
1:29:40
|
I'm afraid I'd lose my concentration on the artwork.
|
…no podré concentrarme
en las obras de arte.
|
|
1:29:44
|
How about that?
|
¿Qué le parece?
|
|
1:29:46
|
[Mitchell] …and Black Mama White Mama.
|
…y en Encadenadas.
|
|
1:29:48
|
You can stick that up your ass. Now, let's go!
|
Me importa un bledo. ¡Vamos!
|
|
1:29:56
|
[Mitchell] But it was in Coffy that she proved herself a movie star.
|
Pero en Coffy
demostró ser toda una estrella de cine.
|
|
1:29:59
|
Toni Morrison once told me, "It was a dismissal
|
Toni Morrison una vez me dijo:
"Es un despropósito
|
|
1:30:02
|
to call Grier's characters, such as Coffy, 'a badass.'"
|
decir que Coffy,
el personaje de Grier, es "ruda".
|
|
1:30:05
|
"It diminished her as an actress."
|
Le quita peso actoral".
|
|
1:30:07
|
And more importantly, she thought Grier's performance
|
Y lo más importante,
pensó que la actuación de Grier
|
|
1:30:10
|
dealt with the moral complexities demanded of Black women.
|
mostraba la complejidad moral
que se le exige a las mujeres negras.
|
|
1:30:13
|
The toll of maintaining her equilibrium
|
El costo de mantenerse equilibrada
|
|
1:30:16
|
while taking the law into her own hands and dealing with betrayal
|
mientras hacía justicia por mano propia
frente a una traición
|
|
1:30:19
|
showed in her performance as she avenges her sister's death,
|
mientras venga la muerte de su hermana,
|
|
1:30:22
|
a metaphor for Black women juggling roles
|
una metáfora de las mujeres negras
|
|
1:30:25
|
such as protectors and nurturers simultaneously.
|
que alternan entre ser protectoras
y cuidar de los suyos.
|
|
1:30:28
|
-Now, come on. -[woman] Howie, what are you doing?
|
- Vamos.
- ¿Qué haces, Howie?
|
|
1:30:31
|
Come back to bed--
|
Vuelve a la cama…
|
|
1:30:36
|
Coffy, baby. You gotta understand. I… I thought you were dead!
|
Coffy, cariño. Tienes que entender.
Creí que estabas muerta.
|
|
1:30:42
|
[Mitchell] But often, and finally, alone.
|
Pero casi siempre, y al final,
lo hacen solas.
|
|
1:30:45
|
Still, moving on. Hopefully, towards community.
|
Pero siguen adelante.
Y se refugian en la comunidad.
|
|
1:30:48
|
She'd be an archangel
|
Ella era un arcángel
|
|
1:30:50
|
delivering her people from the end of the world.
|
que salvaba a su gente del fin del mundo.
|
|
1:30:52
|
Always around the corner for African Americans.
|
Siempre estaba dispuesta
para los afroestadounidenses.
|
|
1:30:55
|
Coffy allows Grier a final moment of respite
|
Coffy le permitió a Grier
un último momento de alivio
|
|
1:30:58
|
in a new version of a picture-postcard shot.
|
en una nueva versión
de una toma de postal.
|
|
1:31:02
|
In 1973, we were in the midst of botched opportunities,
|
En 1973, desaprovechamos
muchas oportunidades,
|
|
1:31:06
|
such as Shaft in Africa, and responses to Black action films,
|
como Shaft en África
y películas negras de acción
|
|
1:31:10
|
such as the adaptation of the play Five on the Black Hand Side,
|
como la adaptación de la obra
Five on the Black Hand Side,
|
|
1:31:13
|
which starred a young Glynn Turman.
|
protagonizada por Glynn Turman.
|
|
1:31:15
|
What does that feel like?
|
¿Qué se siente?
|
|
1:31:18
|
Feels like a lifetime ago, tell you the truth.
|
La verdad, fue hace siglos.
|
|
1:31:21
|
It's amazing that all of that was happening then,
|
Es increíble todo lo que pasaba entonces,
|
|
1:31:27
|
and, uh, that I got to work with such wonderful, wonderful, iconic people,
|
que pudiera trabajar
con gente tan icónica y maravillosa,
|
|
1:31:33
|
you know.
|
ya sabes.
|
|
1:31:35
|
And it, uh…
|
Y es…
|
|
1:31:37
|
It's a history, man, that…
|
Es una historia que…
|
|
1:31:41
|
You don't go into it thinking that it's going to have any import.
|
No piensas en la importancia que tendrá.
|
|
1:31:46
|
It was just, like, uh,
|
Más bien lo hice
|
|
1:31:48
|
survival.
|
para sobrevivir.
|
|
1:31:50
|
You're young.
|
Eres joven.
|
|
1:31:52
|
You know, you're trying to get started in the business.
|
Das los primeros pasos en tu carrera.
|
|
1:31:54
|
You're trying to put your foot down
|
Tratas de establecerte
|
|
1:31:56
|
and make a mark for yourself in the business.
|
y obtener reconocimiento.
|
|
1:31:59
|
[Mitchell] There also came a film that was like the answer to a riddle.
|
Hubo una película que fue
la respuesta a un acertijo.
|
|
1:32:03
|
What would you get if you gave the star
|
¿Qué obtienes si le das a una estrella
|
|
1:32:05
|
of a terrible and ghastly World War II sitcom
|
de una sitcom horrible
de la Segunda Guerra
|
|
1:32:08
|
and the editor of that show a chance to make a movie?
|
y al editor la oportunidad
de hacer una película?
|
|
1:32:10
|
Ivan Dixon, who quit Hogan's Heroes, and Michael Kahn, that show's editor,
|
Ivan Dixon, que dejó Los héroes de Hogan,
y Michael Kahn, editor del programa,
|
|
1:32:15
|
first worked together on Trouble Man.
|
trabajaron juntos en Su majestad el hampa.
|
|
1:32:17
|
But Dixon's dream project was an adaptation
|
Pero el proyecto soñado de Dixon
era una adaptación
|
|
1:32:19
|
of Sam Greenlee's agitprop satiric novel, The Spook Who Sat by the Door,
|
de la sátira de propaganda y agitación
de Sam Greenleee,
|
|
1:32:24
|
in which a Black man, recruited by the CIA,
|
en la que un negro reclutado por la CIA
|
|
1:32:27
|
takes the agency's tactics to the streets and creates a revolution.
|
lleva la táctica de espías a las calles
y causa una revolución.
|
|
1:32:31
|
Dixon's years of struggle to get this project completed
|
La lucha de años de Dixon
para terminar su proyecto
|
|
1:32:34
|
could be a movie.
|
podría ser una película.
|
|
1:32:36
|
Finally raising the money to make half the movie
|
Cuando al fin recaudó fondos
para hacer media película
|
|
1:32:38
|
and showing action sequences to get studio interest,
|
y mostró las escenas de acción
para convencer al estudio,
|
|
1:32:41
|
a bidding war, won by United Artists, got him the other half.
|
una guerra de ofertas que ganó
United Artists se quedó la otra mitad.
|
|
1:32:46
|
According to Dixon, the studio was appalled by a film
|
Según Dixon,
al estudio le dio temor una película
|
|
1:32:49
|
they feared might cause actual riots and lawsuits
|
que podía causar disturbios
y acciones legales
|
|
1:32:52
|
instead of a riot at the box office.
|
en vez de que la gente corra a verla.
|
|
1:32:55
|
It included a line that I thought belonged in the annals of film history,
|
Incluida una frase que quedará
en los anales del cine,
|
|
1:32:58
|
alongside "an offer he couldn't refuse."
|
junto con "una oferta
que no podría rechazar".
|
|
1:33:02
|
[man] Remember,
|
Recuerda,
|
|
1:33:04
|
a Black man with a mop, tray, or broom in his hand
|
un negro con una mopa,
una bandeja o una escoba en la mano
|
|
1:33:07
|
can go damn near anywhere in this country.
|
puede entrar a cualquier lado
en este país.
|
|
1:33:10
|
And a smiling Black man
|
Y un negro sonriente
|
|
1:33:12
|
is invisible.
|
es invisible.
|
|
1:33:13
|
[Mitchell] This line brought down the house when I saw the movie in Detroit in 1973,
|
Esa frase causó una ovación
cuando vi la película en Detroit en 1973,
|
|
1:33:18
|
and it continues to set off fireworks and inspiration decades later.
|
y sigue causando sensación
e inspiración décadas más tarde.
|
|
1:33:22
|
[Nipsey Hussle] I'mma name my last album The Spook That Sat by the Door.
|
Mi último disco se llamará
The Spook Who Sat by the Door.
|
|
1:33:25
|
Basically, he used their agenda,
|
Él usó sus intenciones,
|
|
1:33:26
|
which was to have a token nigga in the CIA for political reasons.
|
la representación de un negro en la CIA
por motivos políticos.
|
|
1:33:30
|
-You know, we gonna speak blunt. Fuck it. -[woman] Right.
|
- Hablemos…
- Claro. …con franqueza.
|
|
1:33:32
|
Um, he used it against 'em.
|
Él lo usó en contra de ellos.
|
|
1:33:36
|
[Mitchell] Dixon told me that when Spook ended its theatrical run,
|
Dixon me dijo
que tras la proyección de la película,
|
|
1:33:40
|
United Artists called him in for a meeting and told him
|
United Artists
lo llamó a una reunión y le dijo
|
|
1:33:42
|
the movie was being tracked by US Intelligence,
|
que la inteligencia de EE. UU.
seguía la película,
|
|
1:33:45
|
which means there's a photo of me
|
es decir, hay una foto mía
|
|
1:33:47
|
and my high-school friends somewhere in Langley.
|
y de mis amigos de secundaria en Langley.
|
|
1:33:50
|
This movie created such a furor
|
La película causó tanto furor
|
|
1:33:52
|
that Dixon felt his theatrical moviemaking career was finished.
|
que Dixon creyó
que su carrera de cineasta estaba acabada.
|
|
1:33:56
|
A film about insurrection was being treated
|
Una película sobre insurrección
fue tratada
|
|
1:33:59
|
as if it were the act itself.
|
como si fuera real.
|
|
1:34:02
|
Don't quit
|
No abandonen
|
|
1:34:04
|
until you either win,
|
hasta que ganen
|
|
1:34:06
|
or you die.
|
o mueran.
|
|
1:34:07
|
[Mitchell] The Spook Who Sat by the Door infused a genre film, the spy thriller,
|
Los guardianes introdujo
un género, un thriller de espías,
|
|
1:34:12
|
with a Black perspective
|
con perspectiva negra
|
|
1:34:13
|
and forced audiences to reexamine how narrow that genre had been.
|
y obligó al público a reconsiderar
lo limitado que había sido ese género.
|
|
1:34:18
|
Ganja & Hess finds visuals, either poetic or realistic and harsh,
|
Ganja & Hess visualmente
es poética o realista y cruda,
|
|
1:34:23
|
to keep its emotional fluidity constant.
|
para mantener constante
su fluidez emocional.
|
|
1:34:31
|
[Mitchell] Duane Jones, steely and determined
|
Duane Jones, el duro y decidido
|
|
1:34:33
|
as the monster killer in Night of the Living Dead,
|
asesino de monstruos
en La noche de los muertos vivos
|
|
1:34:36
|
is cast as the monster here, and his resolve to keep his soul alive
|
aquí hace el papel de monstruo,
y sus ganas de mantener viva su alma
|
|
1:34:40
|
as the movie shifts from dreamscape to bloody reality
|
mientras la película pasa
del sueño a la cruel realidad,
|
|
1:34:44
|
became a metaphor for the life of Bill Gunn,
|
se volvió una metáfora
de la vida de Bill Gunn,
|
|
1:34:46
|
the film's writer, director, and costar.
|
el guionista, director
y coestrella del filme.
|
|
1:34:49
|
Real-life horror played out for Gunn,
|
El horror de la vida real
representa a Gunn,
|
|
1:34:51
|
who witnessed his triumph edited into different versions,
|
que vio su triunfo editado
en distintas versiones…
|
|
1:34:54
|
each badly titled recut worse than the previous one,
|
…cada una con un título
peor que el anterior,
|
|
1:34:58
|
transforming his art into something monstrous.
|
…y transformó su arte en algo monstruoso.
|
|
1:35:02
|
Gunn fought to work in the movies
|
A Gunn le costó trabajar en cine
|
|
1:35:04
|
even after his directorial debut titled Stop!
|
aun tras su debut como director
en Stop!.
|
|
1:35:08
|
Ishmael Reed writes,
|
Ishmael Reed escribió:
|
|
1:35:09
|
"Warner Bros. was so upset with Stop! that it buried the film
|
"Warner Bros. estaba tan molesto con Stop!
que no promocionó el filme
|
|
1:35:13
|
and got Gunn to return his writing and directing fees."
|
y Gunn tuvo que devolver sus honorarios".
|
|
1:35:19
|
1974 was another seismic movement of the needle for Black film.
|
En 1974, hubo otro cambio trascendental
en el cine negro.
|
|
1:35:24
|
[men] The Black 6.
|
LA VENGANZA DE LOS GUERREROS NEGROS
|
|
1:35:29
|
[Mitchell] A jolt courtesy of Diahann Carroll
|
Una sacudida, cortesía de Diahann Carroll
|
|
1:35:31
|
as a weary but determined mother of six in Claudine.
|
como una madre de seis hijos
agotada pero decidida en Claudine.
|
|
1:35:34
|
[woman on phone] Sorry, that number's been disconnected. "Disconnected"?!
|
- Su número no está en servicio.
- ¿"No está en servicio"?.
|
|
1:35:39
|
[Mitchell] Diahann Carroll, whose beauty was deepened by a core of calm,
|
Diahann Carroll,
cuyo aplomo la hacía aún más bella,
|
|
1:35:43
|
was one of those who seized the opportunity to be free
|
aprovechó la oportunidad de deshacerse
|
|
1:35:46
|
of her civilized smoothness.
|
de su naturaleza civilizada.
|
|
1:35:48
|
Please, Francis! Don't do that! You'll electrocute yourself!
|
¡Por favor, Francis! ¡No hagas eso!
¡Vas a electrocutarte!
|
|
1:35:52
|
[Mitchell] As the titular character in this drama, Claudine fought the welfare system
|
Claudine, la protagonista de este drama,
luchaba contra la asistencia social
|
|
1:35:56
|
and the streets of Chicago for the souls of her children.
|
y las calles de Chicago
por las almas de sus hijos.
|
|
1:35:59
|
And she won, in that her kids were still alive at the end.
|
Y ganó porque,
al final, sus hijos siguen vivos.
|
|
1:36:03
|
For her efforts, Carroll got a Best Actress Oscar nomination.
|
Carroll fue nominada
a un óscar a mejor actriz.
|
|
1:36:07
|
Claudine also benefited from being one of the five scores that Curtis Mayfield wrote.
|
Claudine fue uno de los cinco temas
que compuso Curtis Mayfield.
|
|
1:36:11
|
It was a song cycle in which all the songs came
|
Eran canciones cíclicas
|
|
1:36:14
|
from the perspectives of the characters, sung by Gladys Knight & the Pips.
|
desde la perspectiva de los personajes,
interpretada por Gladys Knight & the Pips.
|
|
1:36:18
|
Including one that, in the song,
|
Incluida una perspectiva
|
|
1:36:20
|
precisely outlined a centuries-old fear faced by people of color.
|
que hablaba del miedo
que la gente de color siente hace siglos.
|
|
1:36:25
|
♪ To be invisible ♪
|
Ser invisible
|
|
1:36:28
|
♪ Will be my claim to fame ♪
|
sería mi modo de ser famosa.
|
|
1:36:32
|
♪ A girl with no name ♪
|
Una chica sin nombre.
|
|
1:36:34
|
I actually was cast in Claudine
|
Me seleccionaron para Claudine
|
|
1:36:37
|
when Diana Sands was cast to play Claudine.
|
cuando Diana Sands
iba a ser la protagonista.
|
|
1:36:41
|
And then she passed away.
|
Y luego falleció.
|
|
1:36:44
|
And so they, you know… they reshuffled the deck, and they found another bunch of actors.
|
Cambiaron de plan
y buscaron a otro grupo de actores.
|
|
1:36:49
|
I mean, they had…
|
Es decir, tenían…
|
|
1:36:50
|
I had auditioned, uh,
|
Había audicionado
|
|
1:36:53
|
for the second-youngest son,
|
para ser el segundo hijo menor,
|
|
1:36:55
|
but I wound up not being cast in it after that.
|
pero al final no quedé.
|
|
1:36:58
|
You know, they… they recast it.
|
Eligieron actores nuevos.
|
|
1:37:01
|
[Mitchell] An intriguing piece of editorial in action-leather camouflage
|
Una pieza editorial intrigante
camuflada de película de acción
|
|
1:37:05
|
was Three the Hard Way, which teamed Jim Brown
|
fue La gran amenaza,
que reunió a Jim Brown
|
|
1:37:09
|
and Fred Williamson
|
y Fred Williamson
|
|
1:37:10
|
with martial artist Jim Kelly's Afro.
|
con el artista marcial Jim Kelly.
|
|
1:37:13
|
Three cities and three of us.
|
Tres ciudades y tres de nosotros.
|
|
1:37:15
|
[Mitchell] They take on a neo-Nazi organization,
|
Atacan a una organización neonazi,
|
|
1:37:17
|
which develops a poison that only kills African Americans
|
que desarrolla un veneno
que solo mata a afroestadounidenses
|
|
1:37:21
|
and will be dumped into the water supplies of LA, Detroit, and Washington, D.C.,
|
y se arrojará al agua potable
de Los Ángeles, Detroit y Washington,
|
|
1:37:26
|
all of which look suspiciously like Los Angeles.
|
que, sospechosamente,
todas parecían Los Ángeles.
|
|
1:37:29
|
I thought it was the most laughable thing I'd ever seen
|
Me pareció lo más ridículo que vi
|
|
1:37:32
|
until my father explained the Tuskegee Experiment to me,
|
hasta que mi padre me explicó
el experimento Tuskegee,
|
|
1:37:35
|
and Three the Hard Way was suddenly a meditation on justifiable paranoia,
|
y La gran amenaza de repente
reflexionaba sobre la paranoia lógica,
|
|
1:37:40
|
the scientific term for which is "African American," I believe.
|
el término científico
para los afroestadounidenses, creo.
|
|
1:37:45
|
1974 follows that film with a heartbreaking footnote,
|
En 1974 vino una película
con una referencia desgarradora,
|
|
1:37:49
|
one of the final film performances of Diana Sands.
|
una de las últimas actuaciones
de Diana Sands.
|
|
1:37:52
|
Honeybaby, Honeybaby was a messy cocktail with a splash of spy caper,
|
Muerte al primer ministro era
un cóctel raro de película de espías
|
|
1:37:57
|
a twist of action melodrama, a zest of character comedy,
|
con un toque de acción y melodrama,
comedia de carácter,
|
|
1:38:00
|
and so insecure it begins with the movie describing itself to you.
|
y tanta inseguridad, que la película
empieza con una explicación.
|
|
1:38:05
|
Hey, how you doin'?
|
Hola, ¿cómo están?
|
|
1:38:07
|
My name is J. Eric Bell, and I just got back from Beirut, Lebanon,
|
Me llamo J. Eric Bell
y acabo de volver de Beirut, Líbano,
|
|
1:38:11
|
while filming a movie, Honeybaby, Honeybaby, on location.
|
donde filmé los exteriores
de Muerte al primer ministro.
|
|
1:38:15
|
[Mitchell] '74 was bookended with Sands.
|
1974 fue el fin de Sands.
|
|
1:38:18
|
Another of her last film appearances is in Willie Dynamite,
|
Otra de sus últimas actuaciones
fue en Willie Dynamite,
|
|
1:38:21
|
which starred stage actor Roscoe Orman, who is now better known for another role.
|
con el actor de teatro Roscoe Orman,
mejor conocido por otro papel.
|
|
1:38:27
|
[Orman] I used to joke when Willie finally left after that last scene,
|
El chiste era que cuando Willie se fue
después de la última escena,
|
|
1:38:30
|
he turned the corner, and there was this big yellow bird on the street.
|
dobló la esquina y vio
un enorme pájaro amarillo en la calle.
|
|
1:38:37
|
But it was true.
|
Pero era verdad.
|
|
1:38:38
|
I mean, within… within that year following Willie Dynamite,
|
Ese año, después de Willie Dynamite,
|
|
1:38:41
|
there I was as Gordon on Sesame Street.
|
fui Gordon en Plaza Sésamo.
|
|
1:38:47
|
Looking for work?
|
¿Buscas trabajo?
|
|
1:38:50
|
[Mitchell] The light in Orman's eyes, as Willie Dynamite,
|
La luz en la mirada de Orman
como Willie Dynamite
|
|
1:38:52
|
signaled his eagerness to work with an acting partner
|
marcaba sus ganas
de trabajar con una compañera
|
|
1:38:55
|
whose radiant toughness matched up with his coldhearted savvy.
|
dura y bella que encajara
con su inteligencia calculadora.
|
|
1:38:59
|
[Orman] I had the incredible good fortune of working with,
|
Tuve la increíble suerte de trabajar
|
|
1:39:03
|
you know, one of the great actors of all time.
|
con una de las grandes actrices
de todos los tiempos.
|
|
1:39:05
|
Diana, she was so well-grounded and educated
|
Diana era tan formada y educada
|
|
1:39:10
|
in terms of the art of… of, uh, performance, you know, and, uh…
|
en términos de actuación, que…
|
|
1:39:15
|
Of course she and Lorraine Hansberry were close friends,
|
Ella y Lorraine Hansberry eran muy amigas,
|
|
1:39:18
|
and Sidney and Ruby and Ossie and all of 'em, you know.
|
y Sidney, Ruby y Ossie, todos ellos.
|
|
1:39:22
|
I mean, these were all my mentors as well.
|
También fueron mis mentores.
|
|
1:39:27
|
Willie was a performer, and those courthouse steps,
|
Willie era artista,
y bajó por esos escalones
|
|
1:39:30
|
you know, that was like Baryshnikov.
|
como si fuera Baryshnikov.
|
|
1:39:32
|
Platform shoes, high-heeled platform shoe--
|
Con zapatos de plataforma y taco alto,
|
|
1:39:38
|
I'd probably break every bone in my body now.
|
yo me habría roto todos los huesos.
|
|
1:39:43
|
[Mitchell] Three the Hard Way director Gordon Parks Jr.
|
El director de La gran amenaza,
Gordon Parks Jr.,
|
|
1:39:46
|
had another film that year, Thomasine & Bushrod,
|
hizo otra película ese año,
Thomasine & Bushrod,
|
|
1:39:49
|
an Afrocentric and bucolic Western
|
un western bucólico y afrocéntrico
|
|
1:39:52
|
that braided a Black twist into Bonnie and Clyde with its pairing
|
que le dio un giro negro
a Bonnie y Clyde con la pareja
|
|
1:39:55
|
of two of the most beautiful people in the American West,
|
de dos de las personas más bellas
del oeste estadounidense,
|
|
1:39:58
|
Vonetta McGee and Max Julien, on the run.
|
los fugitivos Vonetta McGee y Max Julien.
|
|
1:40:01
|
Their scenes together toyed with a movie-star version
|
Sus escenas juntos jugaban
con la versión cinematográfica
|
|
1:40:04
|
of their own real-life chemistry.
|
de su química en la vida real.
|
|
1:40:06
|
How you doin', Mr. Bushrod?
|
¿Cómo está, Sr. Bushrod?
|
|
1:40:09
|
I do fine, Thomasine. I do fine. I just never thought I'd see you again.
|
Bien, Thomasine. No pensé volver a verte.
|
|
1:40:14
|
Here I am.
|
Aquí estoy.
|
|
1:40:15
|
-[romantic music playing] -And you look good. Damn, you look good.
|
Y te ves bien. Vaya que te ves bien.
|
|
1:40:20
|
[Mitchell] It showcased the languorous, easy score by Arthur Lee
|
Cuenta con la música lánguida
y sencilla de Arthur Lee,
|
|
1:40:23
|
and the script by its star, Max Julien.
|
y el guion de su estrella, Max Julien.
|
|
1:40:26
|
[Turman] Thomasine & Bushrod was so much fun. Uh…
|
Thomasine & Bushrod era muy graciosa.
|
|
1:40:29
|
Max Julien was such a great guy
|
Max Julien era un tipo genial
|
|
1:40:32
|
and such an innovative guy and a daring guy.
|
e innovador, era muy audaz.
|
|
1:40:34
|
He produced that movie. He wrote it, produced it, you know.
|
Produjo la película.
La escribió y la produjo.
|
|
1:40:37
|
He was-- He called the shots.
|
Él tomaba las decisiones.
|
|
1:40:39
|
So, of all those motion pictures
|
De todas esas películas
|
|
1:40:41
|
that came out of the "Black exploitation," quote, period,
|
que surgieron de la época
de la explotación negra,
|
|
1:40:44
|
Max was one of the few Blacks who controlled his own product.
|
Max fue uno de los pocos
que controló su producto.
|
|
1:40:49
|
I knew one thing. I knew that Max and Vonetta were revolutionary.
|
Sabía una cosa:
Max y Vonetta eran revolucionarios.
|
|
1:40:54
|
Max would just say, you know, "I'm not gonna take this shit."
|
Max decía: "No toleraré esto".
|
|
1:40:58
|
And he didn't, you know, and, uh…
|
Y no lo hizo, ¿sabes?
|
|
1:41:01
|
"Let's do our own, man. We'll just do our own."
|
"hagamos lo que queramos, viejo".
|
|
1:41:06
|
[Mitchell] In the adaptation of the autobiographical book
|
En la adaptación del libro autobiográfico
|
|
1:41:09
|
The Education of Sonny Carson,
|
En La educación de Sonny Carson,
|
|
1:41:11
|
the young protagonist is subjected to extremes of Black masculinity,
|
el joven protagonista se somete
a los extremos de la masculinidad negra
|
|
1:41:15
|
in a film that floats between the brutal and the poetic.
|
en una película que flota
entre lo brutal y lo poético.
|
|
1:41:20
|
This time, director Michael Campus, who also made The Mack,
|
El director Michael Campus
también hizo Goldy el chulo,
|
|
1:41:23
|
tells a story about a Black hero
|
que cuenta la historia de un héroe negro
|
|
1:41:26
|
who can't outwit the prison-industrial complex
|
que no supera
el complejo industrial carcelario
|
|
1:41:29
|
and is nearly suffocated by incarceration.
|
y a quien el encierro casi lo asfixia.
|
|
1:41:32
|
For Sonny, the antidote is moving from one urban tribe to another
|
Para Sonny, el antídoto de pasar
de una tribu urbana a otra
|
|
1:41:36
|
to prove his worth.
|
para probarse a sí mismo.
|
|
1:41:38
|
One of its most harrowing scenes shows the adolescent Sonny
|
Una de las escenas más terribles
muestra a un Sonny adolescente
|
|
1:41:42
|
running the literal gauntlet to be jumped into a gang.
|
en un rito de iniciación de una pandilla.
|
|
1:41:50
|
You wanna deal with the Lords, you deal with us later, you understand?
|
Si quieres meterte con los Lords,
métete después con nosotros.
|
|
1:41:54
|
[Mitchell] Clanton's charged, fully felt acting proves his understanding
|
La actuación sentida y potente
de Clanton demuestra que entiende
|
|
1:41:58
|
of Sonny's psychic scar tissue from a lifetime of violence.
|
las secuelas psíquicas de Sonny
y una vida de violencia.
|
|
1:42:03
|
[Jackson] He just so opposite of who that dude was. He was not that guy.
|
Es todo lo contrario a cómo era él.
No era ese tipo.
|
|
1:42:07
|
He was acting.
|
Estaba actuando.
|
|
1:42:09
|
You know. You coulda--
|
¿Saben? Podrían…
|
|
1:42:11
|
They… they coulda found that out the same way I did.
|
Podrían averiguarlo como yo lo hice.
|
|
1:42:14
|
Just by saying, "Come in this room and talk to us."
|
Solo di: "Ven a hablar con nosotros".
|
|
1:42:16
|
[Mitchell] If the decade 1968 through 1978 was about talent seizing opportunity,
|
Si en la década de 1968 a 1978
el talento aprovechó oportunidades,
|
|
1:42:22
|
there's no better tribute to that motivation
|
no hay mejor homenaje a esa motivación
|
|
1:42:24
|
than the reinvention of Sidney Poitier,
|
que la reinvención de Sidney Poitier,
|
|
1:42:26
|
who turned himself into a blue-collar straight man
|
que se convirtió
en un obrero hecho y derecho
|
|
1:42:28
|
in Uptown Saturday Night.
|
en Uptown Saturday Night.
|
|
1:42:30
|
You all right, baby?
|
¿Estás bien, cariño?
|
|
1:42:32
|
I'm fine.
|
Estoy bien.
|
|
1:42:33
|
I love… Sidney's comedy.
|
Me encanta Sidney como cómico.
|
|
1:42:36
|
Gentlemen.
|
Caballeros.
|
|
1:42:37
|
[Fishburne] He is incredibly funny in it.
|
Es muy gracioso.
|
|
1:42:40
|
And I love that it is a depiction of Black life
|
Y me encanta cómo muestra
la vida de los negros
|
|
1:42:46
|
in a normalized way.
|
con total normalidad.
|
|
1:42:47
|
[Mitchell] Such was Poitier's physical command
|
La capacidad física de Poitier era tal
|
|
1:42:50
|
that he made himself visibly uncomfortable in a suit,
|
que se mostraba incómodo vestido de traje,
|
|
1:42:53
|
the kind of thing that he usually wore like a second skin.
|
justo el tipo de ropa que siempre usaba.
|
|
1:42:56
|
Audiences were giddy
|
Al público le encantó que satirizara su propio estilo
|
|
1:42:58
|
that he could satirize his own stylish earnestness,
|
que satirizara su propio estilo
|
|
1:43:00
|
and he was a movie star once more in one of his biggest hits ever.
|
y que una vez más fuera
la estrella de cine en un gran éxito.
|
|
1:43:04
|
And if Poitier could make himself bigger than life in the movies
|
Si Poitier podía llamar la atención
en una película
|
|
1:43:08
|
in an entirely new way, then anything was possible.
|
de un modo completamente nuevo,
todo era posible.
|
|
1:43:25
|
Perhaps the greatest legacy of this era,
|
Tal vez el mayor legado de esta época
|
|
1:43:28
|
during a time of strain and reassessment in the mainstream,
|
de tensión y reevaluación
del cine comercial,
|
|
1:43:31
|
and such moments being reflected in most movies,
|
momentos que se reflejaron
en casi todas las películas,
|
|
1:43:33
|
is the joy that Black performers took in being before the camera.
|
es la dicha de los actores negros
de estar frente a la cámara.
|
|
1:43:42
|
There are probably more entrances given protagonists of Black films
|
Hay más entradas
para protagonistas de películas negras
|
|
1:43:46
|
than in all the movies of the 1930s put together.
|
que en todas las películas
de la década del 30 juntas.
|
|
1:43:49
|
In some cases, the actors got multiple entrances,
|
En algunos casos,
los actores tenían múltiples entradas
|
|
1:43:52
|
and the soundtracks ushered them onto the screen.
|
y la música los guiaba a la pantalla.
|
|
1:43:55
|
The engagement these movies demanded from audiences
|
El esfuerzo que estas películas
le exigían al público
|
|
1:43:57
|
often played like the moments in musicals before a dance number erupts,
|
eran momentos musicales
antes del número de baile,
|
|
1:44:01
|
and the air is charged.
|
y había emoción en el aire.
|
|
1:44:19
|
It was this decade's movies that gave notice,
|
Las películas de esta década
le dieron atención
|
|
1:44:22
|
careers, and new leases on life to Black talent.
|
a las carreras y éxito popular
del talento negro.
|
|
1:44:26
|
The industry would squander that potential for them.
|
La industria desaprovechó su potencial.
|
|
1:44:29
|
For example, Cleavon Little…
|
Por ejemplo, Cleavon Little…
|
|
1:44:30
|
Hey, where the white women at?
|
¿Dónde están las mujeres blancas?
|
|
1:44:34
|
[Mitchell] …whose quicksilver straight-man verve was as responsible
|
…que con su energía veloz
y heterosexual fue responsable
|
|
1:44:37
|
for the success of Blazing Saddles as anything else.
|
del éxito de Locura en el oeste,
nada más ni nada menos.
|
|
1:44:41
|
What did you expect?
|
¿Qué esperabas?
|
|
1:44:43
|
"Welcome, sonny"?
|
¿"Bienvenido, hijo"?
|
|
1:44:45
|
[Mitchell] Cleavon Little never found another leading role
|
Cleavon Little no encontró
otro protagónico
|
|
1:44:48
|
to showcase his abilities,
|
que mostrara sus habilidades,
|
|
1:44:50
|
unlike his costar, Gene Wilder.
|
a diferencia
de su coestrella, Gene Wilder.
|
|
1:44:59
|
[Mitchell] That surge of musical endorphins informed a film
|
La endorfina musical
le dio carácter a un filme
|
|
1:45:02
|
with probably the best-selling Black soundtrack of the period,
|
con la banda de sonido negra
más vendida de esa época,
|
|
1:45:05
|
directed by the producer of Super Fly.
|
dirigido por el productor de Super Fly.
|
|
1:45:08
|
It's a musical so undercooked the band doesn't bother to speak.
|
Es un musical tan relajado,
que la banda no se molesta en hablar.
|
|
1:45:12
|
Some might say the film's music was so transporting they don't need to.
|
Algunos dicen que la música
era tan evocadora, que no era necesario.
|
|
1:45:16
|
And the spiritual wallop of songs such as "That's the Way of the World"
|
Y ese golpe espiritual de canciones
como "That's the Way of the World"
|
|
1:45:20
|
proved that point.
|
lo demostró.
|
|
1:45:24
|
[Mitchell] The first major studio version of a slave narrative,
|
La primera versión de estudio
de la narrativa de esclavos,
|
|
1:45:27
|
the adaptation of Mandingo,
|
la adaptación de Mandingo,
|
|
1:45:29
|
slaps onto the screen with its gaudy inhumanity intact.
|
sacude la pantalla
con su llamativa inhumanidad intacta.
|
|
1:45:33
|
This decades-old literary sensation
|
Este éxito literario de décadas
|
|
1:45:35
|
was adapted by Oscar-nominee Norman Wexler,
|
fue adaptado por Normam Wexler,
nominado al Óscar,
|
|
1:45:38
|
with a cast that includes James Mason and his florid accent…
|
con un elenco que incluye
a James Mason y su acento florido…
|
|
1:45:42
|
Get down there.
|
Acuéstate ahí.
|
|
1:45:44
|
All right.
|
Muy bien.
|
|
1:45:47
|
[Mitchell] …which seems less crazy after the trashy parade of racism.
|
…que parece menos loco
tras la muestra indecente de racismo.
|
|
1:45:50
|
The movie's obsession with Black sexuality
|
La obsesión de la película
con la sexualidad negra
|
|
1:45:54
|
and ridiculing white fear of it
|
y el temor ridiculizado de los blancos
|
|
1:45:56
|
inspired the body-worshipping photography of Robert Mapplethorpe.
|
inspiró la fotografía del culto al físico
de Robert Mapplethorpe.
|
|
1:46:01
|
That's proof Black Jesus was the revenant's cousin too.
|
Eso demuestra que el Jesús negro
era primo del renacido.
|
|
1:46:04
|
[Mitchell] But Black film continues to explode through one genre after another
|
Las películas negras siguieron
explotando de un género a otro
|
|
1:46:08
|
with writer-director Ralph Bakshi's Coonskin,
|
con Coonskin,
del guionista y director Ralph Bakshi,
|
|
1:46:10
|
a combination of live action and animation that stars Barry White,
|
una combinación de animación y actores
protagonizada por Barry White,
|
|
1:46:14
|
actor-playwright Charles Gordone, and Philip Michael Thomas,
|
el dramaturgo y actor Charles Gordone
y Philip Michael Thomas,
|
|
1:46:17
|
who would later star in Miami Vice and coin the acronym EGOT.
|
que luego trabajaría en División Miami
y crearía la sigla EGOT.
|
|
1:46:21
|
Starting with its assaultive title, Bakshi's experiment packs in
|
Empezando por su título ofensivo,
el experimento de Bakshi
|
|
1:46:25
|
much commentary on race and its cinematic treatment.
|
habla del racismo
y cómo se lo trató en el cine.
|
|
1:46:28
|
From parodying Br'er Rabbit
|
Desde la parodia de Br'er Rabbit
|
|
1:46:30
|
to sending up Krazy Kat.
|
a burlarse de Krazy Kat.
|
|
1:46:31
|
Night after night, Malcolm remains cool.
|
Noche tras noche, Malcolm está tranquilo.
|
|
1:46:36
|
[Mitchell] Conceptually, Coonskin stirred up so much turmoil
|
Conceptualmente, Coonskin causó revuelo,
|
|
1:46:39
|
that it scandalized as well as entertained,
|
era escandalosa y entretenida a la vez,
|
|
1:46:41
|
which was its point.
|
y esa era su intención.
|
|
1:46:48
|
This load is getting too heavy to tote.
|
Esta carga es muy pesada.
|
|
1:46:50
|
[Mitchell] For good or ill, there's still nothing else like it.
|
Para bien o para mal, no hay nada igual.
|
|
1:46:53
|
Random and abrupt police intrusion in Black life
|
La intrusión abrupta
de la policía en la vida de los negros
|
|
1:46:56
|
played on as part of Black film.
|
fue importante en el cine negro.
|
|
1:46:58
|
In Cornbread, Earl and Me,
|
En Sin testigos,
|
|
1:47:00
|
a young Black life ended by a cop's bullet is the center of the story,
|
un policía mata a un joven negro
y en eso se centra la historia,
|
|
1:47:04
|
back when such a thing still drew a gasp because it was so rarely dramatized
|
cuando algo así sorprendía,
ya que casi no se dramatizaba
|
|
1:47:08
|
but got knowing nods from Black audiences.
|
pero el público negro lo aprobaba.
|
|
1:47:16
|
[Mitchell] The spill of orange soda in the climactic scene
|
La soda de naranja derramada
en la escena del clímax
|
|
1:47:18
|
crudely but imaginatively worked as a stand-in for bloodshed
|
funciona de manera cruda e imaginativa
como un baño de sangre
|
|
1:47:22
|
and still sends a chill through me.
|
y aún me da escalofríos.
|
|
1:47:25
|
Cornbread!
|
¡Cornbread!
|
|
1:47:26
|
That movie, for me, is the original Boyz n the Hood.
|
Para mí, esa película
es la Dueños de la calle original.
|
|
1:47:31
|
Cornbread, Earl and Me is a tragic story.
|
Sin testigos es una historia trágica.
|
|
1:47:33
|
And Boyz n the Hood is also a tragic story.
|
Y Los dueños de la calle también.
|
|
1:47:37
|
And those things are almost 20-something years apart.
|
Hay como 20 años de diferencia
entre ambas.
|
|
1:47:41
|
[all] We do not enter public transportation illegally.
|
No subimos de manera ilegal
al transporte público.
|
|
1:47:45
|
[Mitchell] From the high-flying Shaft and athletes-turned-adventurers,
|
Desde el éxito de Shaft
y atletas convertidos en aventureros,
|
|
1:47:48
|
action downshifted into something drawn like real life.
|
la acción se fue tornando más realista.
|
|
1:47:52
|
Cooley High, a Black inner-city version of American Graffiti,
|
Cooley High, una versión pobre
de Locura de verano,
|
|
1:47:55
|
with the ups and downs of a coming-of-age story emerged.
|
tiene los altibajos del fin de la niñez.
|
|
1:47:59
|
And the story was given a resident lift from Motown songs,
|
La historia se eleva
con las canciones de Motwon,
|
|
1:48:02
|
which would have been the soundtrack of the characters' lives in 1964
|
que habrían marcado
a los personajes en 1964,
|
|
1:48:06
|
when Cooley High was set.
|
cuando transcurre la película.
|
|
1:48:07
|
The heady perfume of nostalgia washed over Black audiences,
|
El embriagador aroma a nostalgia
cautivó al público negro,
|
|
1:48:11
|
-who welcomed it. -[Motown music playing]
|
que la aceptó.
|
|
1:48:13
|
That's Motown music.
|
Es música de Motown.
|
|
1:48:15
|
And it's the backdrop of Black people's lives…
|
Y es el entorno de la vida de los negros
|
|
1:48:22
|
…on film.
|
en un filme.
|
|
1:48:24
|
That's nice. That's… that's a nice change.
|
Es lindo. Es un lindo cambio.
|
|
1:48:32
|
[Turman] One of the first scenes I remember shooting
|
Lo primero que recuerdo haber filmado
|
|
1:48:34
|
is the scene running for the bus.
|
es la escena corriendo al autobús.
|
|
1:48:36
|
That was exactly how I grew up in Manhattan.
|
Así crecí en Manhattan.
|
|
1:48:39
|
That's what we did. That's what me and my crew did.
|
Es lo que hacíamos con mis amigos.
|
|
1:48:42
|
We ran and jumped on the back of the bus going down 7th Avenue.
|
Saltábamos a un autobús
que iba por la séptima.
|
|
1:48:45
|
I'll never forget it. But here was the thing…
|
Nunca lo olvidaré. Pero cuando hacíamos eso
por la séptima avenida,
|
|
1:48:48
|
[laughing] …when we did that going down 7th Avenue,
|
Pero cuando hacíamos eso
por la séptima avenida,
|
|
1:48:53
|
we jumped on the bus, and 7th Avenue was cobblestone,
|
saltábamos y la calle era empedrada,
|
|
1:48:56
|
so you held on for dear life!
|
así que debías aferrarte bien.
|
|
1:49:00
|
Can I have a hot dog, please?
|
¿Me da un hot dog, por favor?
|
|
1:49:02
|
[Mitchell] Turman plays the big comedic moments and the reality
|
Turman interpreta momentos cómicos
y de la realidad,
|
|
1:49:05
|
so that he becomes an important ingredient in Cooley High
|
y se vuelve un ingrediente importante
en Cooley High
|
|
1:49:08
|
rather than overwhelm it with his spice.
|
en vez de sazonarla con su gracia.
|
|
1:49:10
|
-Could I have ketchup on it? -We don't have any ketchup.
|
- ¿Me da kétchup?
- No tenemos.
|
|
1:49:13
|
-You ain't got no ketchup? -That's right.
|
- ¿No tienen kétchup?
- Así es.
|
|
1:49:15
|
[man] Got some relish? Can I have relish on it, please?
|
¿Puede agregarle condimento?
|
|
1:49:17
|
[woman] I don't have relish.
|
No tengo.
|
|
1:49:18
|
-[man] You got no relish? -[woman] No relish.
|
- ¿No tienen condimento?
- No.
|
|
1:49:20
|
-[man] What you got? -[woman] Mustard.
|
- ¿Qué tienen?
- Mostaza.
|
|
1:49:21
|
-Mustard?! -[woman] That's it.
|
- ¿Mostaza?
- Sí.
|
|
1:49:23
|
You mean, a big establishment like this, and all you got is mustard?
|
¿Una gran tienda como esta
solo tiene mostaza?
|
|
1:49:26
|
-That's right. -I don't like mustard. Do you?
|
- Sí.
- No me gusta la mostaza. ¿A usted?
|
|
1:49:28
|
Yeah, I like mustard.
|
Sí, me gusta.
|
|
1:49:30
|
Oh yeah? Well then, here. You eat the hot dog.
|
Bueno. Entonces, cómase el hot dog.
|
|
1:49:33
|
And along that road,
|
Y en tu carrera,
|
|
1:49:35
|
you hit certain spots that make you go, "Whoa! Yeah, this is-- Yeah!"
|
llegas a cierto punto donde piensas:
"Sí, eso es".
|
|
1:49:41
|
All of a sudden, a call comes from nowhere.
|
De repente, te llaman de la nada.
|
|
1:49:43
|
Doesn't even come from my agent. It comes from some strange other place.
|
Ni siquiera es tu agente.
Es un extraño de otra parte.
|
|
1:49:47
|
"Glynn, Ingmar Bergman is looking for you."
|
"Glynn, Ingmar Bergman
te está buscando".
|
|
1:49:50
|
I said, "I'm in no mood to play. I'm sitting here in the fucking dark."
|
Dije: "Basta de chistes.
Estoy sentado a oscuras, carajo.
|
|
1:49:55
|
"My kids are hungry. I'm-- We're eating potatoes."
|
"Mis hijos tienen hambre.
Comemos patatas".
|
|
1:49:59
|
And I hung up the phone.
|
Y colgué el teléfono.
|
|
1:50:00
|
And the call came. He said, "No, for real, Glynn."
|
Y me llamaron. Dijo: "Es en serio, Glynn".
|
|
1:50:03
|
He was looking for me. And he'd seen Cooley High
|
Me estaba buscando.
Había visto Cooley High
|
|
1:50:07
|
and, you know, said he knew right then that I was the one to be in his movie.
|
y dijo que enseguida supo
que me quería en su película.
|
|
1:50:13
|
So… so you go from pockets of that kind of disaster to
|
Pasas de sentirte desastroso
|
|
1:50:19
|
euphoria.
|
a la euforia.
|
|
1:50:21
|
And then, so it's a ride that--
|
Y entonces, la experiencia…
|
|
1:50:23
|
It's… unbelievable ride.
|
Fue una experiencia increíble.
|
|
1:50:30
|
[laughs] You are outrageous, you know that?
|
Eres escandalosa, ¿sabes?
|
|
1:50:33
|
[Mitchell] Old-school glamour, as portrayed again by Diana Ross and Billy Dee Williams,
|
Otra vez, el glamur clásico
de Diana Ross y Billy Dee Williams
|
|
1:50:37
|
still proved potent in the 1975 romantic melodrama Mahogany.
|
demostró seguir vigente en Mahogany,
el melodrama romántico de 1975.
|
|
1:50:42
|
You gotta give 'em some pizzazz. Show 'em your charm. Ow!
|
Dales dinamismo. Muéstrales tu encanto.
|
|
1:50:45
|
I always feel like, sometimes Black men always feel like they have to…
|
Siempre noto que, a veces,
los hombres negros deben…
|
|
1:50:49
|
Maybe there's a good reason for it. There are obvious reasons for it, I guess.
|
Tal vez haya un buen motivo.
Hay motivos obvios, supongo.
|
|
1:50:53
|
But, uh, always this need to show their strength.
|
Pero siempre está la necesidad
de mostrar su fortaleza.
|
|
1:50:58
|
Vulnerability is a wonderful thing to use.
|
La vulnerabilidad es maravillosa.
|
|
1:51:00
|
It's a wonderful tool when you're playing a character.
|
Es una maravillosa
herramienta de actuación maravillosa.
|
|
1:51:08
|
I've missed you too.
|
Yo también te extrañé.
|
|
1:51:10
|
[Williams] But that's me. I'm that kind of person.
|
Pero así soy yo.
|
|
1:51:12
|
I mean, I'm not afraid to display
|
No temo demostrar
|
|
1:51:16
|
my, uh… or convey my feelings about,
|
o transmitir lo que siento
|
|
1:51:21
|
uh, something if I… if I feel strongly.
|
sobre algo que me apasiona.
|
|
1:51:24
|
Play it, Sam.
|
Tócala, Sam.
|
|
1:51:25
|
♪ We're on the rock 'n' roll choo choo Headed for Hollywood… ♪
|
UN TREN PARA HOLLYWOOD (1975)
|
|
1:51:28
|
[Mitchell] The pop-soul group Bloodstone, whose big hit was "Natural High,"
|
Bloodstone, el grupo de pop-soul
cuyo gran éxito fue Natural High,
|
|
1:51:32
|
were said to have invested their own money to produce
|
invirtió dinero, según dicen, para producir el musical raro y conmovedor
|
|
1:51:34
|
the touching and sweetly odd musical
|
para producir el musical raro y conmovedor
|
|
1:51:36
|
Train Ride to Hollywood, a pastiche of 1940s movie clichés,
|
Un tren para Hollywood,
un pastiche de los clichés de los años 40,
|
|
1:51:40
|
and inserted themselves into the mix.
|
y se incluyeron en la mezcla.
|
|
1:51:46
|
[Mitchell] Among Richard Pryor's gifts was pinpoint cultural criticism,
|
Richard Pryor, con sus tantos talentos,
hacía una crítica cultural,
|
|
1:51:49
|
as he proved with his 1976 comedy album Bicentennial Nigger
|
como lo demostró en su disco de comedia
de 1976, Bicentennial Nigger
|
|
1:51:54
|
and his take on Logan's Run,
|
y en su versión de Fuga en el siglo 23,
|
|
1:51:56
|
a 1976 Lego-colored, pre-Star Wars sci-fi fantasy.
|
una fantasía colorida de ciencia ficción
con bloques, anterior a Star Wars.
|
|
1:52:01
|
[Pryor] I went to see Logan's Run, right?
|
Fui a ver Fuga en el siglo 23.
|
|
1:52:03
|
They had a movie of the future called Logan's Run.
|
Hicieron una película futurista
llamada así.
|
|
1:52:06
|
Ain't no niggas in it.
|
No hay negros.
|
|
1:52:07
|
I said, "Well, white folks ain't planning for us to be here."
|
Dije: "Los blancos no planean
que estemos ahí".
|
|
1:52:14
|
[Pryor] That's why we gotta make movies. Then we'll be in the picture.
|
Por eso debemos hacer películas.
Para salir en pantalla.
|
|
1:52:19
|
People don't ever want to-- And… and please forgive me.
|
La gente no quiere… Perdón.
|
|
1:52:23
|
People never want to offend white folks.
|
La gente nunca quiere
ofender a los blancos.
|
|
1:52:27
|
They want to be able to keep white folks on their side
|
Quieren tener a los blancos de su lado,
|
|
1:52:30
|
so that they will be allowed to make these movies.
|
para que les permitan
hacer esas películas.
|
|
1:52:37
|
[Mitchell] By 1976,
|
Para 1976,
|
|
1:52:39
|
after Black films redeemed the ideal of heroic protagonists,
|
el cine negro resaltaba
el heroísmo de sus protagonistas,
|
|
1:52:42
|
mainstream movies once again saw their worth.
|
y las películas comerciales
vieron su importancia.
|
|
1:52:45
|
Smile, you son of a…
|
Sonríe, hijo de…
|
|
1:52:46
|
[Mitchell] The Sting and Jaws, which returned the thrill of victory
|
El golpe y Tiburón,
que devolvieron la emoción de la victoria
|
|
1:52:50
|
to white male movie stars, were massive hits.
|
a las estrellas masculinas blancas
fueron un éxito.
|
|
1:52:53
|
In fact, both Jaws and The Sting
|
De hecho, Tiburón y El golpe
|
|
1:52:55
|
were made by the same producers that did Willie Dynamite.
|
son de los mismos productores
de Willie Dynamite.
|
|
1:52:58
|
The Sting's plot could have been lifted from the novel Trick Baby, also a film.
|
El argumento de El golpe tal vez se tomó
de la novela Trick Baby, también un filme.
|
|
1:53:03
|
And, by 1976's end, Rocky Balboa,
|
Y para finales de 1976, Rocky Balboa, un héroe que podía salir
de una película negra de acción,
|
|
1:53:07
|
a hero who could have stepped out of a Black action movie,
|
Rocky Balboa, un héroe que podía salir
de una película negra de acción,
|
|
1:53:09
|
was pitted against a clumsy and mocking Muhammad Ali archetype.
|
se enfrentó al arquetipo
payasesco y burlón Muhammad Ali.
|
|
1:53:12
|
And though Rocky didn't win the fight,
|
Si bien Rocky no ganó la pelea,
|
|
1:53:14
|
he got the Best Picture Oscar and the box office success to go with it.
|
recibió el Óscar a mejor película
y fue un éxito de taquilla.
|
|
1:53:18
|
He looks like a big flag.
|
Se ve muy elegante.
|
|
1:53:20
|
[Mitchell] Rocky featured a Black heavyweight champ
|
Rocky mostraba
a un campeón negro de peso pesado
|
|
1:53:23
|
who was a parody of the all-beef persona Ali brought to the ring.
|
que parodiaba la personalidad masculina
que Ali llevó al ring.
|
|
1:53:28
|
But Ali used humor as a mind game on his opponents,
|
Pero Ali usaba el humor
para manipular a sus rivales,
|
|
1:53:31
|
who all tried to glare him into submission. He wasn't a clown.
|
que querían someterlo. No era un payaso.
|
|
1:53:34
|
In fact, Ali knew he could pretend to take things lightly
|
De hecho, Ali sabía
que podía fingir tomarse todo a la ligera
|
|
1:53:38
|
because his skills would prove his indomitability,
|
porque su habilidad
demostraba que era indomable,
|
|
1:53:41
|
including a willingness to take a punch,
|
incluso estaba dispuesto a recibir golpes,
|
|
1:53:43
|
which may have accelerated his slide into Parkinson's.
|
lo que tal vez aceleró su Parkinson.
|
|
1:53:47
|
Stallone's savvy had him lift cleverly from Black culture
|
Stallone, con su astucia,
le robó a la cultura negra.
|
|
1:53:51
|
such ideas as pounding beef in the meat locker
|
La idea de golpear medias reces
en el frigorífico
|
|
1:53:53
|
and running up the museum steps, which Joe Frazier did first,
|
y correr por los escalones del museo,
primero lo hizo Joe Frazier,
|
|
1:53:57
|
as the book Ghosts of Manila reminds us.
|
como nos lo recuerda Ghosts of Manila.
|
|
1:54:01
|
As Rocky's foe, Apollo Creed,
|
Como enemigo de Rocky, Apollo Creed,
|
|
1:54:04
|
Carl Weathers bent himself into a pretzel to bring himself down to Stallone's size.
|
Carl Weathers tuvo que doblarse todo
para bajar a la estatura de Stallone.
|
|
1:54:09
|
I needed a chiropractor after watching Weathers fold himself
|
Después de ver a Weathers doblarse así,
necesité un quiropráctico
|
|
1:54:12
|
to the level of Rocky's fists.
|
para llegar al ver los golpes de Rocky.
|
|
1:54:16
|
By 1976, the notion of using the power of musicals to capture audience attention
|
Para 1976, la idea de usar el poder
de la música para cautivar al público
|
|
1:54:21
|
was no longer lost on mainstream filmmakers.
|
ya no le era ajena
a los cineastas comerciales.
|
|
1:54:26
|
With Car Wash, composer Norman Whitfield was primed to outdo Shaft and Super Fly,
|
En Un mundo aparte, Norman Whitfield
superó a Shaft y Super Fly
|
|
1:54:31
|
with a theme of hard-hitting funk bounce sutured to a social context.
|
con un tema funk efectista
que se incorporaba a un contexto social.
|
|
1:54:36
|
And it worked.
|
Y funcionó.
|
|
1:54:44
|
This song, "Something He Can Feel,"
|
Esta canción, "Something He Can Feel",
|
|
1:54:47
|
was Curtis Mayfield's take on Motown girl-group simmer.
|
fue la versión de Cutis Mayfield
de un grupo femenino de Motown.
|
|
1:54:50
|
Mayfield wrote it for the proto-Dreamgirls,
|
Mayfield la compuso
para el prototipo de Dreamgirls,
|
|
1:54:53
|
Black showbiz melodrama, Sparkle…
|
un melodrama del espectáculo, Sparkle…
|
|
1:54:55
|
♪ …I'm too young to let you know Just where I'm coming from ♪
|
…soy muy joven para que sepas
de dónde vengo.
|
|
1:55:01
|
…which should have ignited the career of star Lonette McKee
|
…que pudo impulsar la carrera
de la estrella Lonette McKee
|
|
1:55:05
|
and been more than a footnote for Irene Cara and Philip Michael Thomas.
|
y ser más que una acompañante
de Irene Cara y Philip Michael Thomas.
|
|
1:55:10
|
Sparkle was screenwriter Joel Schumacher's follow-up to Car Wash,
|
Sparkle le siguió a Un mundo aparte,
del guionista Joel Schumacher,
|
|
1:55:14
|
and he wrote it to hypnotize audiences and direct himself.
|
que hipnotizó al público
y él mismo la dirigió.
|
|
1:55:18
|
It ended up dazzling the handful who saw it
|
Cautivó a los pocos que la vieron,
|
|
1:55:20
|
but not with Schumacher behind the camera.
|
pero no con Schumacher tras las cámaras,
|
|
1:55:24
|
Like the potential crowd-pleaser
|
LOS BINGO LONG, EQUIPO DE ESTRELLAS (1976)
|
|
1:55:26
|
The Bingo Long Traveling All-Stars & Motor Kings,
|
Bingo Long, equipo de estrellas,
|
|
1:55:29
|
this story of the Negro Leagues
|
que trata de las ligas de negros,
|
|
1:55:31
|
also functioned as a metaphor for the amount of effort
|
era también una metáfora del gran esfuerzo
|
|
1:55:34
|
Blacks had to put into entertaining audiences.
|
que deben hacer los negros
para entretener.
|
|
1:55:36
|
The players had to give a show on the way to the stadium
|
Los jugadores debían dar un show
camino al estadio
|
|
1:55:39
|
and still played nine innings of baseball.
|
y aun jugar un partido entero de béisbol.
|
|
1:55:41
|
I loved it. I really wanted to do Bingo
|
Me encantó encarnar a Bingo,
|
|
1:55:44
|
'cause Bingo was a really fun kind of character.
|
era un personaje muy divertido.
|
|
1:55:47
|
I mean, the man is guaranteeing us $200.
|
El tipo nos garantiza $200.
|
|
1:55:49
|
If you slice that 11 ways, that comes out to about, uh…
|
Si lo divides por 11, es…
|
|
1:55:55
|
A lot of money!
|
¡mucho dinero!
|
|
1:55:57
|
[Mitchell] Bingo is all the things Williams is.
|
Bingo es todo lo que es Williams.
|
|
1:56:00
|
He's physical. He has an appetite for life.
|
Es atleta. Es un apasionado de la vida.
|
|
1:56:02
|
Full of crap, you know.
|
Es un mentiroso.
|
|
1:56:09
|
[man 1] Who you got, man?
|
¿Quién es?
|
|
1:56:12
|
[man 2] A real foxy lady.
|
Una mujer muy atractiva.
|
|
1:56:13
|
[Mitchell] The 1977 film Brothers was a peculiar and rare attempt
|
El filme Hermanos de 1977
fue un raro y peculiar intento
|
|
1:56:18
|
at Black political melodrama.
|
de un melodrama político negro.
|
|
1:56:20
|
With its haunted Taj Mahal score,
|
Con la música hipnótica de Taj Mahal,
|
|
1:56:23
|
it was a romance of ideals with Bernie Casey and Vonetta McGee
|
era una combinación de ideales,
con Bernie Casey y Vonetta McGee,
|
|
1:56:27
|
as characters based on George Jackson and Angela Davis.
|
personajes basados
en George Jackson y Angela Davis.
|
|
1:56:30
|
But pretty much all this movie did was gape at their bone structure.
|
Pero la película solo se enfocó
en su belleza física.
|
|
1:56:34
|
Before Marvel and DC dropped faithful movie adaptations
|
Antes de que Marvel y DC
hicieran adaptaciones fieles
|
|
1:56:38
|
of their universes on regular schedules, the well-meaning street superhero story
|
de sus universos con regularidad,
la historia del superhéroe callejero,
|
|
1:56:43
|
Abar: the First Black Superman hit screens.
|
Abar: el primer Superman negro
llegó a la pantalla.
|
|
1:56:47
|
This film celebrates the Watts Tower on-screen,
|
La película homenajea
a las Watts Towers en pantalla,
|
|
1:56:50
|
giving it a sense of place in the Black world.
|
y da una sensación de pertenencia
al mundo negro.
|
|
1:56:52
|
-Commence firing! -[whooshing]
|
¡Disparen!
|
|
1:56:59
|
[Mitchell] And, in an early version of sampling,
|
Y, en una versión preliminar,
|
|
1:57:01
|
it used Captain America's origin story as a serving suggestion.
|
usó la historia del origen
del Capitán América como sugerencia.
|
|
1:57:05
|
As a Black race, let's get ourselves together,
|
Los negros debemos unirnos
|
|
1:57:08
|
in every respect.
|
en todos los aspectos.
|
|
1:57:09
|
For that, I'll sacrifice anything short of murder.
|
Para eso, sacrificaré todo, menos matar.
|
|
1:57:12
|
Well, uh, suppose I could, uh, make you indestructible.
|
Supongo que puedo hacerte indestructible.
|
|
1:57:18
|
[Mitchell] The cycle of Black film was slowly winding down,
|
El ciclo de cine negro
de a poco se iba terminando,
|
|
1:57:21
|
as the sure-bet returns on Black films of a certain type
|
y la recaudación asegurada
de ciertas películas negras
|
|
1:57:24
|
were diminishing at a rate that seemed exponential.
|
disminuía a una velocidad exponencial.
|
|
1:57:28
|
So, there was no place for a peculiar high point of the 1970s,
|
No había lugar
para el peculiar auge de los años 70,
|
|
1:57:32
|
a biopic about a real-life boxer,
|
una película biográfica de un boxeador
|
|
1:57:35
|
with a theme song that initially provoked unintentional laughs.
|
con una canción
que provocó risas involuntarias.
|
|
1:57:38
|
♪ I believe the children are our future ♪
|
Creo que los niños son el futuro.
|
|
1:57:42
|
♪ Teach them well And let them lead the way ♪
|
Enséñales y serán líderes.
|
|
1:57:46
|
♪ Show them all the beauty They possess inside ♪
|
Muéstrales la belleza
que hay en su interior.
|
|
1:57:51
|
[Mitchell] Houston's chart-topping claiming of this song
|
Esta canción éxito de Houston
|
|
1:57:53
|
lifted it from ode to self-absorption to self-empowerment hymn.
|
pasó de oda a egocentrismo
a himno de autoempoderamiento.
|
|
1:57:57
|
This embrace of "The Greatest Love of All" was a generational shift.
|
La aceptación de esta canción
fue un cambio generacional.
|
|
1:58:02
|
Following the lead of actors from 1968 adopting Ali's bravado,
|
Los protagonistas de 1968
que adoptaron la fanfarronería de Ali
|
|
1:58:06
|
it signaled the change in mainstream perception of Ali,
|
marcaron un cambio
en la percepción general de Ali,
|
|
1:58:09
|
from showboat to "The Greatest Love of All."
|
desde la provocación
a "The Greatest Love of All".
|
|
1:58:14
|
Prior to this 1968 through '78 era,
|
Antes de la era de 1968 a 1978,
|
|
1:58:17
|
movie soundtracks didn't matter to the studios
|
a los estudios no les interesaban
las bandas de sonido
|
|
1:58:19
|
because they didn't consistently sell much,
|
porque no se vendían mucho.
|
|
1:58:22
|
and usually came out months after the movies were released.
|
y salían meses después del estreno.
|
|
1:58:25
|
Black '70s film ignored that example.
|
Las películas negras de los 70
ignoraron ese ejemplo.
|
|
1:58:28
|
The scores weren't just textures but detonations of thought and sound.
|
La música no era solo una textura,
sino la explosión de ideas y sonido.
|
|
1:58:33
|
Their boldness transformed movie music and mainstream music forever.
|
Su audacia transformó para siempre
la música de cine y comercial.
|
|
1:58:38
|
Suddenly, movie music was a commercial consideration.
|
De repente, la música de película
era comercial.
|
|
1:58:41
|
Black film soundtracks multiplied,
|
Las bandas sonoras de películas negras
se multiplicaron,
|
|
1:58:44
|
composed and performed by R&B singers, jazz artists,
|
eran compuestas e interpretadas
por cantantes de R&B, artistas de jazz,
|
|
1:58:48
|
classically trained musicians, who made a fusion of classical and modern.
|
músicos con formación clásica
que fusionaron lo clásico y lo moderno.
|
|
1:58:52
|
Master session drummer Bernard Purdie
|
La sesión del baterista Bernard Purdie
|
|
1:58:55
|
was out to show the true definition of funk
|
mostró la verdadera definición del funk
|
|
1:58:58
|
in the Black X-rated film Lialeh,
|
en Lialeh,
la película negra clasificación X,
|
|
1:59:00
|
where he's on camera playing the score he composed for the movie.
|
donde está en cámara tocando la música
que compuso para la película.
|
|
1:59:06
|
Eventually, the movies would have to take notice
|
Al final, las películas tomarían nota
|
|
1:59:09
|
because too many hits were coming out of these Black movie scores.
|
porque muchos de estos éxitos
salían de películas negras.
|
|
1:59:18
|
Robert Stigwood was producing a movie
|
Robert Stigwood producía una película
|
|
1:59:20
|
about the white middle-class being consumed by disco.
|
sobre clase media blanca
obsesionada con la música disco.
|
|
1:59:23
|
You know, Black music.
|
Ya saben, música de negros.
|
|
1:59:25
|
Because Stigwood also owned a record label,
|
Stigwood también era dueño
de una discográfica,
|
|
1:59:28
|
he made sure to use a film soundtrack featuring his biggest artists,
|
y usó a sus artistas más exitosos
para la banda de sonido,
|
|
1:59:31
|
the Bee Gees, to sell the movie
|
los Bee Gees, para vender la película
|
|
1:59:33
|
and help his potential audience get over its fear of a Black planet.
|
y ayudar a su posible público
a superar el miedo a los negros.
|
|
1:59:38
|
Soon, soundtracks would come to dominate the pop charts
|
Pronto, las bandas sonoras
dominarían las listas de éxitos
|
|
1:59:41
|
and be expected to because of the Black film example.
|
y era esperable,
por el ejemplo del cine negro.
|
|
1:59:44
|
It's one of the many lasting and unheralded achievements
|
Fue uno de los tantos logros
duraderos y no reconocidos
|
|
1:59:48
|
of Black film of this era.
|
de esta época del cine negro.
|
|
1:59:53
|
In 1977, the most attractive points of Black film,
|
En 1977, los puntos más atractivos
del cine negro,
|
|
1:59:56
|
the entrance, the confidence, the propulsive theme to announce the star,
|
la entrada, la seguridad,
el tema que anuncia a la estrella,
|
|
2:00:01
|
like this, finally received its homage in a mainstream movie.
|
al fin fueron homenajeados
en el cine comercial.
|
|
2:00:05
|
♪ Music loud and women warm ♪ ♪ I've been kicked around Since I was born ♪
|
FIEBRE DE SÁBADO POR LA NOCHE (1977)
|
|
2:00:12
|
[Mitchell] Which is to say, every generation gets its own Elvis or Eminem.
|
Es decir, cada generación tiene
su propio Elvis o Eminem.
|
|
2:00:19
|
John Travolta was another note in the decades-long symphony of swagger,
|
John Travolta era una nota más
en la sinfonía de estilo de décadas,
|
|
2:00:24
|
an off-white take on Black cool,
|
una versión blanquecina de la onda negra,
|
|
2:00:27
|
the next best thing.
|
que es lo mejor.
|
|
2:00:29
|
Travolta, as Tony Manero,
|
Travolta, en su papel de Tony Manero,
|
|
2:00:32
|
may not have been the first to use Black beats of stylization,
|
no fue el primero en usar
elementos del estilo de los negros,
|
|
2:00:35
|
but he embraced it with a bone-deep flair for expropriation.
|
pero tenía un talento increíble
para la apropiación.
|
|
2:00:38
|
His intensity and intent
|
Su intensidad y su intención
|
|
2:00:41
|
became a truly realized cultural phenomenon,
|
se convirtieron en un fenómeno cultural,
|
|
2:00:44
|
the biggest ever.
|
el más grande de todos.
|
|
2:00:47
|
By 1978, Richard Pryor had appeared in 20 movies.
|
Para 1978, Richard Pryor
había actuado en 20 películas.
|
|
2:00:51
|
With the exception of a handful of turns,
|
Con excepción de algunos papeles,
|
|
2:00:54
|
his live standup, and Wattstax, none consistently made use of his talent.
|
su monólogo en vivo y Wattstax
no aprovecharon bien su talento.
|
|
2:00:58
|
Wanna buy a radio?
|
¿Quieres comprar una radio?
|
|
2:00:59
|
My locker's been busted for six months now, man,
|
Mi casillero está roto hace seis meses,
|
|
2:01:02
|
and the company ain't did shit to fix it.
|
y la empresa no lo arregla.
|
|
2:01:04
|
Now I have to stick my finger in some tiny-ass hole.
|
Tengo que meter el dedo
en un agujero diminuto.
|
|
2:01:07
|
I cut my finger, man, two weeks ago, and it ain't healed yet.
|
Me corté hace dos semanas,
aún no cicatrizó.
|
|
2:01:10
|
[Mitchell] In '78, he costarred in what would be a most demanding role.
|
En 1978, fue coprotagonista
en lo que sería un papel muy exigente.
|
|
2:01:15
|
He played a volatile and miserable autoworker in Blue Collar,
|
Interpretó a un mecánico
volátil y desdichado en Blue Collar,
|
|
2:01:19
|
which would also remain his own favorite acting work.
|
que sería
su trabajo de actuación preferido.
|
|
2:01:23
|
You a redneck, peckerwood motherfucker, you know that?
|
Campesino ignorante hijo de puta.
|
|
2:01:26
|
That's it, you're through. I've had your bullshit.
|
Se acabó. Me cansé de tus idioteces.
|
|
2:01:29
|
I'mma kill a motherfucker! You understand that?
|
¡Mataré al hijo de puta! ¿Entendido?
|
|
2:01:31
|
[Mitchell] It was a film whose atmosphere was so combative,
|
Era una película
con una atmósfera combativa,
|
|
2:01:34
|
you could make a great movie about the making of Blue Collar.
|
se podría hacer una gran película
sobre el rodaje de Blue Collar.
|
|
2:01:37
|
It would be the following year
|
Al año siguiente,
|
|
2:01:39
|
that Pryor would release himself from fur-lined handcuffs
|
Pryor se quitaría las esposas de piel
|
|
2:01:42
|
in his most complex and remarkable role,
|
en su papel más complejo y notable,
|
|
2:01:45
|
himself.
|
él mismo.
|
|
2:01:46
|
I don't wanna never see no more police in my life.
|
Ya no quiero ver un policía en mi vida.
|
|
2:01:51
|
At my house. [chuckles]
|
En mi casa.
|
|
2:01:54
|
[Mitchell] To witness Pryor's startling, jazz-drummer control
|
Ver el monólogo
perfectamente sincronizado de Pryor
|
|
2:01:57
|
in the film Live in Concert
|
en la película Live in Concert,
|
|
2:01:59
|
is to see he was the Tony Williams of comedians.
|
es verlo como el Tony Williams
de los comediantes.
|
|
2:02:03
|
It only highlighted how the studios made movies,
|
Solo dejó en evidencia
cómo los estudios hacen las películas
|
|
2:02:06
|
such as The Wiz, that squandered his blistering truth.
|
como El mago,
donde se desperdició su talento.
|
|
2:02:10
|
Phony!
|
¡Falso!
|
|
2:02:12
|
[Mitchell] At this point, it feels like only one thing can save Black film from oblivion.
|
A esta altura, parece que una sola cosa
salva a una película negra del olvido.
|
|
2:02:16
|
The Wiz is out! He's not here!
|
¡El mago se fue! ¡No está aquí!
|
|
2:02:19
|
I'm on my way to find The Wiz.
|
Voy camino a buscar al mago.
|
|
2:02:22
|
He's gonna get me back home.
|
Él me llevará a casa.
|
|
2:02:24
|
Well, that's nice.
|
Qué bien.
|
|
2:02:25
|
[Mitchell] Was it an all-stops-out musical from one of the most respected directors,
|
¿Un musical a gran escala
de un director muy respetado,
|
|
2:02:29
|
with a film debut of a performer destined to become
|
con el debut en cine
de un artista destinado a ser
|
|
2:02:32
|
the biggest pop music phenomenon of the next decade
|
el mayor fenómeno de la música pop
de la década siguiente,
|
|
2:02:35
|
and a budget that could possibly equal what was spent
|
y un presupuesto que podría igualar
lo que se gastó
|
|
2:02:38
|
to make all the Black films produced in 1968?
|
para todas las películas negras
producidas en 1968?
|
|
2:02:41
|
A good thought in the abstract but probably not in real life.
|
Una buena idea en abstracto,
pero tal vez no en la vida real.
|
|
2:02:45
|
The director was someone whose best work
|
El mejor trabajo del director
|
|
2:02:47
|
was tense, gritty movies, such as Serpico and Dog Day Afternoon.
|
eran películas tensas y crudas
como Serpico y Tarde de perros.
|
|
2:02:51
|
The star's about 20 years too old for the part,
|
La estrella
es 20 años mayor para el papel,
|
|
2:02:54
|
and the expressionism
|
y el expresionismo
|
|
2:02:56
|
and gospel-flavor intimacy of the stage show
|
y la intimidad con estilo góspel
del show escénico
|
|
2:02:58
|
is replaced by hundreds of extras trying not to bump into each other
|
es reemplazada por cientos de extras
que tratan de no chocarse
|
|
2:03:01
|
in outfits that still seem to have shiny price tags hanging off them.
|
en trajes que parecen tener colgando
la etiqueta del precio.
|
|
2:03:06
|
The Wiz is said to have cost between 25 and 40 million dollars to make,
|
Se dice que El mago costó
entre $25 y $40 millones,
|
|
2:03:11
|
as much as Super Fly grossed.
|
casi tanto lo que recaudó Super Fly.
|
|
2:03:13
|
It lacked the infectious aplomb and winning brio
|
Le falta el aplomo contagioso
y la energía cautivante
|
|
2:03:16
|
of the Black movies that did succeed.
|
de los filmes negros
que sí tuvieron éxito.
|
|
2:03:18
|
It only made about a third of its costs back.
|
'EL MAGO' ES PURA ESPUMA
|
|
2:03:21
|
Sure, it may have got bad reviews,
|
Tal vez recibió mañas críticas,
|
|
2:03:22
|
but so did most of the films that did extraordinary business.
|
pero también las películas
que recaudaron mucho.
|
|
2:03:25
|
The simple fact is The Wiz lost money.
|
La verdad es que El mago perdió dinero.
|
|
2:03:28
|
So much that it gave the movie industry the reason it had been looking for
|
Tanto que fue el motivo que buscaba
la industria del cine
|
|
2:03:31
|
to withdraw from the Black movie business
|
para retirarse de las películas de negros
|
|
2:03:34
|
and handed movie executives the chance to say things like,
|
y darles a los ejecutivos de cine
el pie para decir cosas como:
|
|
2:03:37
|
"Black people don't wanna see themselves in movies anymore."
|
"Los negros ya no quieren
verse en las películas".
|
|
2:03:40
|
Or something I actually heard from one,
|
O algo que me dijo uno:
|
|
2:03:42
|
"Black people don't see themselves in historical dramas anyway."
|
"Los negros no se hallan
en dramas históricos".
|
|
2:03:47
|
It was in 1978
|
En 1978,
|
|
2:03:49
|
that the white male movie star reaccepted the mantle of hero
|
la estrella de cine blanca
volvió a aceptar el manto de héroe
|
|
2:03:52
|
after rejecting it to embody the tormented antihero for over a decade,
|
tras rechazar por más de una década
al antihéroe atormentado,
|
|
2:03:57
|
the sure and steely-eyed hero archetype…
|
el arquetipo de héroe con mirada de acero…
|
|
2:04:01
|
[announcer] Burt Reynolds is Hooper.
|
Burt Reynolds es Hooper.
|
|
2:04:03
|
And Hooper is a real hero.
|
Y Hooper es un verdadero héroe.
|
|
2:04:06
|
[Mitchell] …and finally absorbed the lesson
|
…al final aprendió la lección
|
|
2:04:08
|
that these Black films understood early on.
|
que las películas negras habían entendido.
|
|
2:04:10
|
The biggest myth that the movies promoted,
|
El principal mito
que promovían las películas,
|
|
2:04:13
|
going back to D.W. Griffith and even before,
|
volviendo a D.W. Griffith e incluso antes,
|
|
2:04:16
|
is that we want to be saved.
|
es que queremos que nos salven.
|
|
2:04:19
|
But it's often a satisfying lie,
|
Pero siempre es una mentira satisfactoria,
|
|
2:04:21
|
a chili cheeseburger, poisonous but so good.
|
una hamburguesa con queso,
envenenada pero muy sabrosa.
|
|
2:04:28
|
[Mitchell] Warren Beatty ascended from impotent bank robber to the heavens.
|
Warren Beatty ascendió
de ladrón de bancos impotente al paraíso.
|
|
2:04:32
|
Heaven Can Wait could be viewed as the closing of a circle,
|
El cielo puede esperar se ve
como el cierre de un círculo,
|
|
2:04:36
|
because a '70s remake of Here Comes Mr. Jordan
|
porque la remake de los años 70
de El difunto protesta
|
|
2:04:38
|
began its life in the hands of a Black performer
|
comenzó en manos de un artista negro
|
|
2:04:41
|
working with Francis Coppola.
|
que trabajaba con Francis Coppola.
|
|
2:04:43
|
[Coppola] It was a really funny script because he's this white guy
|
Era un guion muy gracioso
porque es un tipo blanco
|
|
2:04:46
|
who dies and comes back as Bill Cosby,
|
que muere y reencarna como Bill Cosby,
|
|
2:04:49
|
but everyone sees him as white.
|
pero todos lo ven blanco.
|
|
2:04:52
|
He liked-- I don't know why it was never done.
|
Le gustó… No sé por qué nunca se hizo.
|
|
2:04:54
|
[Mitchell] Robert De Niro employed his movie-star concentration
|
Robert De Niro empleó
su concentración de estrella de cine
|
|
2:04:58
|
to play an old-school avenger.
|
para interpretar a un clásico vengador.
|
|
2:05:00
|
Clint Eastwood put down his .44 Magnum to hang with the apes.
|
Clint Eastwood dejó su Magnum 44
para juntarse con simios.
|
|
2:05:04
|
And the rocket that was launched from the planet Krypton by DC Comics in 1938
|
Y el cohete que DC Comics lanzó
desde el planeta Kriptón en 1938
|
|
2:05:09
|
finally deposited its contents on the movie screen.
|
al final dejó sus contenidos
en la pantalla grande.
|
|
2:05:28
|
But by 1978, the crowning achievement of the decade came into focus,
|
Pero para 1978, se destacó
el logro coronado de una década,
|
|
2:05:32
|
a work of art that had been playing since the end of the previous year.
|
una obra de arte que se proyectaba
desde fines del año anterior.
|
|
2:05:37
|
This film took the director much of the decade
|
El director tardó una década
|
|
2:05:39
|
to complete and release,
|
en terminar y lanzarla,
|
|
2:05:40
|
though, to be fair, it was a thesis project.
|
aunque fue el proyecto de su tesis.
|
|
2:05:43
|
It used music deftly to illustrate character and setting
|
Usó la música con habilidad
para ilustrar el carácter y el tono,
|
|
2:05:46
|
and showed an alluring command of the medium
|
y mostró un dominio increíble del medio
|
|
2:05:49
|
and would be imitated into the next century.
|
que sería imitado el siglo siguiente.
|
|
2:06:06
|
♪ Ooh ♪ ♪ May not… ♪
|
FIESTA EN CASA (1990)
|
|
2:06:10
|
[Mitchell] Burnett borrowed Dinah Washington's "This Bitter Earth"
|
Burnett usó "This Bitter Earth"
de Dinah Washington
|
|
2:06:13
|
for its delicate heartache.
|
por su delicado dolor.
|
|
2:06:15
|
And Martin Scorsese paid tribute to the scene in both image and music.
|
Y Martin Scorsese le rindió homenaje
a la escena, con imagen y música.
|
|
2:06:24
|
These people I grew up with, I really admired them, you know,
|
Admiraba mucho
a las personas con las que crecí,
|
|
2:06:28
|
the fathers who, you know…
|
los padres que, ya saben…
|
|
2:06:30
|
Unlike Hollywood films, that they…
|
A diferencia de los filmes de Hollywood,
|
|
2:06:32
|
Everyone's a prostitute or doing something or leaving the family,
|
donde todas son prostitutas
o abandonan a la familia,
|
|
2:06:36
|
and a mother to take care, a single parent,
|
y la madre soltera se hace cargo,
|
|
2:06:38
|
these parents and fathers were working hard, you know,
|
estos padres trabajaban duro
|
|
2:06:42
|
and I tried to be like 'em. And I grew up in a community
|
y traté de ser como ellos.
Crecí en una comunidad
|
|
2:06:45
|
that I really respected the people and liked 'em because I saw who they were,
|
donde respetaba a la gente
y la quería porque veía quiénes eran.
|
|
2:06:50
|
and those are the kinds of people I didn't see represented in stories.
|
Esa es la clase de gente
que no veo representada en las historias.
|
|
2:06:54
|
'Cause they were working-class people. Watts was a really interesting place.
|
Eran gente de clase trabajadora.
Watts era un lugar interesante.
|
|
2:07:00
|
When I first went to UCLA,
|
Cuando fui a UCLA,
|
|
2:07:02
|
they had this end-of-the-quarter screening called Royce Hall Screenings.
|
al final del trimestre había
una proyección llamada Royce Hall.
|
|
2:07:06
|
And they showed all the best films that were shown at…
|
Mostraron los mejores filmes
|
|
2:07:09
|
in the film department that year.
|
del departamento de cine de ese año.
|
|
2:07:11
|
And I was taking a class with… The teacher was Basil Wright.
|
Yo tomaba una clase con… El profesor era Basil Wright.
Era documentalista,
|
|
2:07:15
|
He was a documentary filmmaker who did Song of Ceylon, things like that.
|
El profesor era Basil Wright.
Era documentalista, hizo Song of Ceylon, cosas por el estilo.
Tuve suerte de estar en su clase.
|
|
2:07:19
|
I was so lucky to get in his class.
|
hizo Song of Ceylon, cosas por el estilo.
Tuve suerte de estar en su clase.
|
|
2:07:21
|
And I remember going to the screenings at Royce Hall,
|
Recuerdo que fui
a las proyecciones de Royce Hall
|
|
2:07:24
|
and I couldn't understand a word of what was going on. I… I didn't identify--
|
y no entendía qué pasaba. No identificaba…
|
|
2:07:28
|
I mean, it was a time when the flower children was a big thing.
|
Era la época de los hippies.
|
|
2:07:32
|
You know, nudity, you know, going up to… going up to Topanga Canyon,
|
Desnudos, ir al cañón Topanga,
|
|
2:07:36
|
you know, and the guys are getting weed and all this kind of stuff
|
Desnudos, ir al cañón Topanga, fumaban marihuana, todas esas cosas,
|
|
2:07:39
|
and just finding themselves,
|
y se encontraban a sí mismos,
|
|
2:07:41
|
rediscovering themselves and their sexuality.
|
se redescubrían ellos y su sexualidad.
|
|
2:07:44
|
And, I mean, those weren't the issues in my community.
|
Esos no eran
los problemas de mi comunidad.
|
|
2:07:57
|
[Mitchell] Killer of Sheep demonstrated the potential of the medium
|
Matador de ovejas demostró
el potencial del medio
|
|
2:08:00
|
by a poet finding beauty in his own neighborhood.
|
por un poeta en busca de belleza
en su barrio.
|
|
2:08:03
|
And, of course, he was ignored by the mainstream press.
|
Y, claro, la prensa lo ignoró.
|
|
2:08:07
|
There was no takeaway from it,
|
No tuvo reconocimiento,
|
|
2:08:09
|
even as filmmakers made entire careers out of copying it.
|
aunque los cineastas
hicieron su carrera copiándola.
|
|
2:08:12
|
And Black film was left to wither and die.
|
Y el cine negro
se fue marchitando y murió.
|
|
2:08:17
|
In every decade since 1978, there's been a rise and fall
|
En cada década desde 1978,
hay un auge y caída
|
|
2:08:21
|
for gifted Black filmmakers who won't give up.
|
de cineastas negros talentosos
que no se rindieron.
|
|
2:08:24
|
Is the lesson that those who cannot remember the past
|
¿Es la lección
que quienes no recuerdan el pasado
|
|
2:08:27
|
are condemned to keep remaking Shaft?
|
están condenados
a seguir rehaciendo Shaft?
|
|
2:08:29
|
There's much talk of the pride that came out of the period, but again,
|
Se habla mucho del orgullo
de ese período, pero, otra vez,
|
|
2:08:32
|
I think of something my grandmother said, "You don't want pride. It's a trap."
|
pienso en algo que dijo mi abuela:
"El orgullo es una trampa".
|
|
2:08:37
|
"That means you want someone to see your chest swelled up."
|
"Significa que quieres
que vean que se te infla el pecho.
|
|
2:08:40
|
"It's a selfish thing."
|
Eso es egoísta.
|
|
2:08:42
|
"Instead, take pleasure in what you do. That belongs to you."
|
En vez de eso, disfruta de lo que haces.
Te pertenece.
|
|
2:08:46
|
"It's something you want others to share in with you."
|
Algo que quieras compartir con los demás".
|
|
2:08:49
|
It's what I got from those films.
|
Es lo que me dieron esas películas.
|
|
2:08:51
|
The pleasure those talents took in making the movies,
|
Lo que esos talentos
disfrutaron haciendo películas,
|
|
2:08:54
|
they passed on to me and to others,
|
me lo transmitieron a mí y a otros,
|
|
2:08:57
|
and it's a living thing.
|
y sigue vivo.
|
|
2:09:25
|
For the dudes who ain't here, huh?
|
Por los que no están.
|
|
2:09:28
|
In addition to being a repository of hope, they were empirical proof
|
Además de dar esperanzas,
eran una prueba empírica
|
|
2:09:34
|
that we were here, that we exist,
|
de que aquí estamos, existimos,
|
|
2:09:37
|
that we create culture,
|
creamos cultura,
|
|
2:09:39
|
that our community is a viable community,
|
nuestra comunidad es viable,
|
|
2:09:41
|
is an important community,
|
es importante,
|
|
2:09:43
|
that we have voices, and that we will be heard.
|
tenemos voz y seremos oídos.
|
|
2:09:49
|
[Mitchell] A final note, one person symbolized all the ups and downs of the period.
|
Por último, una persona simbolizó
los altibajos de esa época.
|
|
2:09:53
|
Going from number one at the box office to irrelevance
|
Pasó de ser el número uno en taquilla
a la irrelevancia
|
|
2:09:56
|
to being one of the last left standing.
|
de ser uno de los últimos en pie.
|
|
2:09:59
|
Sidney Poitier,
|
Sidney Poitier,
|
|
2:10:00
|
who shifted his trajectory but didn't slow a step.
|
que cambió de rumbo
pero no se detuvo ni un paso.
|
|
2:10:04
|
He trusted his compact with Black audiences would remain intact.
|
Confió en que su pacto
con el público negro seguiría intacto.
|
|
2:10:08
|
-[shot booms] -[yelps]
|
ODIO EN LAS PRADERAS (1972)
|
|
2:10:10
|
[Mitchell] From 1968 through '78, he directed and starred in five films…
|
De 1968 a 1978,
dirigió y protagonizó cinco filmes…
|
|
2:10:15
|
I put my faith in the good book.
|
Le tengo fe a la Biblia.
|
|
2:10:17
|
…all of which centered on characters pretending to be something they're not.
|
…centrados en personajes
que fingían ser algo que no eran.
|
|
2:10:21
|
Damn, man, we trusted you! I mean, why us?!
|
Confiábamos en ti, viejo.
¿Por qué nosotros?
|
|
2:10:25
|
Why not you, brother?
|
¿Por qué no tú, hermano?
|
|
2:10:26
|
[Mitchell] I once asked him about this
|
Una vez se lo pregunté,
|
|
2:10:29
|
one of the handful of times I spoke to him,
|
una de las pocas veces que hablé con él,
|
|
2:10:31
|
all ending with him turning me down for an interview.
|
y cada vez se negaba
a darme una entrevista.
|
|
2:10:34
|
When I mentioned that his five directing efforts were all about imposture…
|
Cuando le dije que las cinco películas
que dirigió eran sobre impostores,
|
|
2:10:38
|
Open your eyes.
|
Abre los ojos.
|
|
2:10:39
|
…he laughed and said,
|
…se rio y dijo:
|
|
2:10:41
|
"Young man, I already have a therapist. I don't need another one."
|
"Ya tengo un psicólogo, joven.
No necesito otro".
|
|
2:10:45
|
You are capable of great feats of strength and courage.
|
Eres capaz de grandes hazañas
de fuerza y valentía.
|
|
2:10:50
|
Strength and courage.
|
Fuerza y valentía.
|
|
2:10:53
|
You can beat any fighter in the world. You will win the championship.
|
Puedes derrotar a cualquier luchador.
Ganarás el campeonato.
|
|
2:11:01
|
-I will? -Yes!
|
- ¿En serio?
- Sí.
|
|
2:11:05
|
[Mitchell] But being Black in America is often about remembering
|
Pero si eres negro en EE. UU.
siempre recordarás
|
|
2:11:08
|
that what you think you are isn't what other people see
|
que lo que crees ser
no es lo que la gente ve,
|
|
2:11:12
|
and figuring out the distance between those two perceptions.
|
y debes resolver la distancia
entre ambas percepciones.
|
|
2:11:16
|
I think it's something my grandmother would have agreed with.
|
Mi abuela hubiera estado
de acuerdo con eso.
|